APPLICATIONS.

[jumpscare]

APPLICATIONS ARE CURRENTLY CLOSED.

Applications open on July 24 at 12:01AM EST. Please post your applications on this page!

You may app up to two characters per round. The total amount of characters you may have at this time is four. You may have two characters from the same canon, however these characters can not have met or will have no reason to do so in the future. We will decide this on a case-by-case basis.

Reserves are not a requirement. However, a reserve is an excellent way to state your intentions and to give us a heads up to research your canon and character so that we can process it faster.

If you are asked for revisions, then you have seventy-two hours to reply to the comment with what we have asked.

If you would like details on a rejection then you may PM the mod account or reply to the comment and we will be as detailed as possible.

	_________applications. ooc info; Name: (Your online handle.) Age: (Your age. Unfortunately, players below the age of 16 are not allowed.) Ways to contact: (Email, AIM, Plurk, etc.) Characters currently played: (List of characters currently played in the game. Character limit is currently 4.) character info; Character Name: (Your character's full name, in Western order. The characters may call themselves whatever they wish ICly, but for organization's sake we need this.) Canon: (Name of your character's canon.) Canon Link: (Link to your character's history/canon, i.e. wikipedia articles/informative fansites/etc.. If it's a particularly obscure canon with very little information available, you may write your own section to give us an overview of your character's history and world background.) Canon Point: (The point from which your character is pulled i.e. chapter 500, just before the final battle, after confessing their eternal love, etc.) Character Age: (Your character's age, or approximation thereof. Characters of all ages are allowed, though we request that if a character is under the age of 10, you fill out an additional section detailing their suitability for living in a post-apocalyptic world.) Character Suitability: (For characters under the age of 10 only. We need to know why the Caretakers would think such a young child would be strong enough to survive a zombie-infested earth and help to rebuild the world.) Personality: (The meat of the app. Tell to us your character's motivations, their likes and dislikes, strengths, weaknesses, relationships, and anything else you think is important in letting us know what makes them tick. A bunch of words doesn't always mean a good application, and we won't ask for an college essay, but we do require that this section be at least 350 words long, to show us you know what you're talking about and can elaborate appropriately.) Powers & Abilities: (Briefly describe any supernatural powers or abilities your characters may have i.e. healing spells, super strength, teleportation. Their powers will, of course, be severely dampened upon arriving, but perhaps, if seen as worthy, they can wake up to find it more potent than before.) Items on their Person: (List any items you character would have had with them upon being taken. Your character has to be holding or touching these items somehow for them to be brought with them. For example, items in the pockets of clothing or in a backpack will be brought along with you. Summoned weapons will also be brought, but they cannot be put back.) samples; ALL SAMPLES MUST BE SET IN THE GAME'S UNIVERSE. First Person Sample: (This is to showcase your character's dialogue, so while you may use [bracket action] when needed, this should be at least 5 spoken sentences. Remember, a sentence has to have a subject and a verb. Monosyllabic sounds do not count toward the minimum. If you're having difficulty thinking up a sample, you may request a Q&A for this portion instead, where we will give you 5 questions to be answered ICly.) Third Person Sample: (This is a prose portion, meant to showcase your character's thoughts and actions, as well as your own writing ability. Samples must be at least 300 words. Remember to use proper spelling, grammar, and paragraphs.) Additional Information: (Questions, comments, and additional miscellaneous facts about your character may be added here!) <b><big>OOC Info;</b></big> <b>Name:</b> (Your online handle.) <b>Age:</b> (Your age. Unfortunately, players below the age of 16 are not allowed.) <b>Ways to contact</b>: (Email, AIM, Plurk, etc.) <b>Characters currently played:</b> (List of characters currently played in the game. Character limit is currently 4.) <b><big>Character Info;</b></big> <b>Character Name</b>: (Your character's full name, in Western order. The characters may call themselves whatever they wish ICly, but for organization's sake we need this.) <b>Canon</b>: (Name of your character's canon.) <b>Canon Link:</b> (Link to your character's history/canon i.e. wikipedia articles/informative fansites/etc.. If it's a particularly obscure canon with very little information available, you may write your own section to give us an overview of your character's history and world background.) <b>Canon Point:</b> (The point from which your character is pulled i.e. chapter 500, just before the final battle, after confessing their eternal love, etc.) <b>Character Age</b>: (Your character's age, or approximation thereof. Characters of all ages are allowed, though we request that if a character is under the age of 10, you fill out an additional section detailing their suitability for living in a post-apocalyptic world.) <b>Character Suitability</b>: (For characters under the age of 10 only. We need to know why the Caretakers would think such a young child would be strong enough to survive a zombie-infested earth and help to rebuild the world.) <b>Personality</b>: (The meat of the app. Tell to us your character's motivations, their likes and dislikes, strengths, weaknesses, relationships, and anything else you think is important in letting us know what makes them tick. A bunch of words doesn't always mean a good application, and we won't ask for an college essay, but we do require that this section be at least 350 words long, to show us you know what you're talking about and can elaborate appropriately.) <b>Powers & Abilities</b>: (Briefly describe any supernatural powers or abilities your characters may have i.e. healing spells, super strength, teleportation. Their powers will, of course, be severely dampened upon arrival so please explain how you plan to limit these abilities.) <b>Items on their Person</b>: (List any items you character would have had with them upon being taken. Your character has to be holding or touching these items somehow for them to be brought with them. For example, items in the pockets of clothing or in a backpack will be brought along with you. Summoned weapons will also be brought, but they cannot be put back.) <b><big>Samples;</big></b> (All samples must be set in the game's universe) <b>First Person Sample</b>: (This is to showcase your character's dialogue, so while you may use <small>[bracket action]</small> when needed, this should be at least 5 spoken sentences. Remember, a sentence has to have a subject and a verb. Monosyllabic sounds do not count toward the minimum. If you're having difficulty thinking up a sample, you may request a Q&A for this portion instead, where we will give you <b>5</b> questions to be answered ICly.) <b>Third Person Sample</b>: (This is a prose portion, meant to showcase your character's thoughts and actions, as well as your own writing ability. Samples must be at least 300 words. Remember to use proper spelling, grammar, and paragraphs.) <b>Additional Information</b>: (Questions, comments, and additional miscellaneous facts about your character may be added here!)

Comments

Carl Grimes - The Walking Dead (comic) - reserved

[laverinth]

Name: Lauren
Age: 29
Ways to contact: email: unheard.rain [at] gmail (dot) com
Characters currently played: none

Character Info;
Character Name: Carl Grimes
Canon: The Walking Dead (comic)
Canon Link: TWD wiki
Canon Point: around issue 97
Character Age: most likely 8
Character Suitability: Carl already comes from the zombie apocalypse, and while bringing him in on his own makes me a terrible person he'd have more of an idea of what to do than a lot of the adults in this situation.

Personality: At the beginning of the series, we see Carl as an innocent seven-year-old child more interested in playing in the dirt with the other kids than thinking about the zombie crisis currently going on. But before the first seven chapters are up he's killed another human being.

He's forced to grow up a bit faster than most kids his age, and you can see the comparison between him and the rest of the children going through this crisis fairly early on. The simple fact that he was trusted with a gun to protect himself and gains all the responsibilities and hazards that come along with it means he deals with moral issues sooner. That said, with nearly a hundred chapters completed in the series so far, he's been more responsible with his gun use than most - only pulling it out when absolutely necessary, just as he was told.

This is one of the hardest times in anyone's life to have to deal with a situation like his, and you can tell he's still a child that's been forced into a more mature skin. The other children dealt with things differently. Sophia shoved the issue of her mother's death aside and pretended like the couple that took care of her after were her real parents. Ben failed to develop a certain sense of understanding in regard to death, eventually killing his own brother with the logic that he'd return after, actions that showed an unsettling fascination with death not belonging to a sane individual.

It's Carl's reaction to the discussion over what to do with Ben that shows his still childlike and simplistic mindset. He knew that Ben wasn't right anymore. While the adults all argued over what to do with him, as there was no place to send him where he might get the mental care he needed (if anything of that sort would ever help him at all) Carl snuck out in the middle of the night and put a bullet in Ben's head. To him, it's what had to be done. Everyone knew this, but was unwilling to act. When he tells his father later, it's clear that Rick agreed on this but hates that his son was the one to go through with it.

A lot of the childlike wonder has left Carl at this point in the series. He's become a rather serious individual, and has a hard time participating with the other kids in children's activities. When they arrive in a new settlement near D.C. and the kids all dress up to celebrate Halloween, he doesn't want to join in, thinking the whole thing a waste of time. He's also focused so hard on being strong that he doesn't always know when to just be a kid, and he doesn't understand when his father tells him just to let all his feelings out now and then.

He does still realize he's a child, and has no notion of doing too many activities more suited to grown men. He's also still fiercely attached to his father, the only member of his family he has left, to the point where he'll sneak away to join the man if he tries to leave his son with anyone else for any decent period of time. He's capable of taking care of himself to some degree, and managed it in a time when his dad was sick and unable to care for them, but being alone frightens him.

Should he not have his father in the game, he will definitely latch onto any safe looking group of adults - but also be exceptionally wary. A lot of the time, they've found, the zombies aren't the biggest threats in a zombie apocalypse. It's the other people.

He understands that killing someone is reserved only for when it needs to be done - when the safety of others is at stake. The couple of times he's done it, he hasn't enjoyed it and has cried after the fact. He still cries sometimes at night over killing Ben. His father told him right off after he killed Shane that taking a human life should never feel the same as taking out a zombie. Once you start enjoying it, you become the bad guy.

Carl looks up to his dad a lot, and has said he wants to be just as good of a leader someday. There have been times when Rick's actions have scared him, but he's more afraid of losing the man for good than anything he's done.

(done)

[laverinth]

Powers & Abilities: Carl is a hundred percent human. No special powers here. He's also just a kid with no special skills aside from the ability to aim and shoot a gun.
Items on their Person: He carries a pistol with him, but probably not any ammo. It would likely be fully loaded when he arrived, but he'd be limited to those six (I'm assuming it's six) bullets until he found more - if he could. He also has his sheriff hat and jacket.

Samples;
First Person Sample:
Hey, uh... is anyone there?

I'm gonna count to three, and if no one comes out then I'm going in. [Taking a few steps closer to the barn, gun at the ready.] I mean it! If you're still alive, I'm not gonna hurt you, okay? And... if I yell it should attract the attention of any zombies, so I can just kill them when they come out!

...I'm probably just talking to myself. There's no one in there, is there?

Okay, I'm coming in! Please don't shoot at me if you're armed!

Third Person Sample:
The door was nudged open carefully with the end of a shovel. He knew better than to go sticking his hand in dark places when he didn't know what was past the opening. He hadn't gotten this far just to die on account of a stupid mistake like that. The door opened with a loud creak that caused him to pause momentarily, but if his yelling hadn't brought anything out so far then this shouldn't either.

Pulling the door open a bit further revealed that the inside wasn't as dark as he'd thought it would be. An opening in the loft above above allowed ribbons of daylight to fall to the hay-strewn floor below, a surface left blissfully clear of the dead bodies he'd come to find a normal sight upon entering a new building. Aside from the birds he heard fluttering about in the rafters when he walked in, it didn't look as though anyone had been in the barn in some time. That meant the previous owners had to have abandoned it at the onset of the epidemic and no one had taken shelter in it since. No living bodies meant nothing for zombies to come after.

If the walls were sturdy enough, it could make for a decent place to stay for a time, provided he could find something to bar the doors with. He didn't know if he trusted the stability of a barn when compared to an actual house, having never lived in a barn, but the way up to the loft looked like it would be easy to keep zombies from getting up to, and there weren't windows all over to make himself visible. If he was lucky, any masses of the undead would pass him by. If not, well...

There was a ladder in the shed across the yard, as well as a hand saw. The stairs up to the loft were simple and wooden, and though it took him some time to do, it wasn't impossible to saw them away to where he could kick them down and put the latter in its place. He could make a robe ladder eventually, something they could keep up top and roll down so they wouldn't have to worry about pulling up this one if zombies came in.

He was proud of himself for this foresight, which helped when it came to making himself comfortable for the night. Helped... but not enough. Sleep was still long in coming.

Additional Information: Carl is missing his right eye and a good chunk out of that side of his head due to a stray bullet. It would be bandaged upon his arrival.

Tony Stark | MCU: The Avengers | Reserved

[runsonbatteries]

OOC Info;
Name: Natalie
Age: 23
Ways to contact: PM or Plurk (Magyums). I also have an AIM (Magyums) but I tend not to sign onto it that much.
Characters currently played: None!

Character Info;
Character Name: Anthony “Tony” Stark
Canon: Marvel Cinematic Universe: The Avengers

Tony Stark | MCU: The Avengers | Reserved

[runsonbatteries]

Canon Point: Towards the very end of the movie. Loki’s army is destroying Manhattan and more of them are still coming through a portal between our world and deep space. In a last-ditch effort to stop them, Director Fury’s superiors send a nuclear missile towards the island, which Tony grabs and drives into the portal. Kind of a two-birds-one-stone deal to stop Manhattan from becoming a gigantic pothole, but it also exceeds the limits of his suit. He will be taken the moment after the Chitauri mother ship explodes and Tony loses consciousness.

Character Age: Mid-to-late thirties, probably 38 or 39 by this point.
Character Suitability:

Personality: Billionaire, genius, philanthropist, playboy. Tony Stark is the man that hacks into a PA system just to make his own theme music, and hates being handed things. And when a man tries to kick him out of a bar, he buys the bar, instead. His charisma is unstoppable. Tony Stark is very charming, and most dangerously of all, he’s aware of it. If he walks into a room and wants people to take notice, everyone is going to look at him. Loki and Beyoncé combined don’t have enough diva power to match him. He loves classic rock and heavy metal (bands such as, but not limited to AC/DC, Black Sabbath, and Def Leppard). He's a never-ending fountain of pop culture references, even the most obscure kind (referring to Thor as "Point Break" due to his resemblance to Patrick Swayze's character in the like-titled movie). And he seems vaguely educated in the Bible, due to the Jonah reference in the Avengers, and the Jericho missile in Iron Man, presuming Tony was the one that named it.

His attention span for things that don't interest him or he deems unimportant is about as long and extensive as a fly in a room full of dry shit, but as often as Tony drags his heels about early meetings, or turns up three hours late to previously scheduled appointments, he becomes focused and near-obsessive about the things that matter to him. Whether it’s his next mission as Iron Man, or a new project he’s been working on, he’s ready to trade food and sleep for gallons of coffee and all-nighters in his workshop.

Beneath the armor he has another protective exoskeleton surrounding his feelings. He doesn’t let people in so easily, even his now-girlfriend Pepper Potts. He uses his charm and sarcasm to keep people at an arm’s length. One notable example being the death of Phil Coulson: Tony is very obviously affected by his death, but calls Coulson an idiot for getting himself killed. And when he almost dies in space, his first reaction is to deflect from the moment and ramble. Not to say the humor is not legitimate: even when Tony is alone, and he's just talking to himself (note: he does this, quite often), he's cracking jokes at the expense of his surroundings.

This, the nature of his work, and the eccentricities he’s cultivated, makes Tony a very solitary creature. There are people he rubs elbows with at parties, the members of his staff, and the questionable women he sleeps with, but there are only a handful of people he’s truly close to—and his machines. Tony talks to his machines. He even made an AI to talk back to him.

There is Colonel James Rhodes (or “Rhodey,” as Tony prefers to call him), the liaison between the military and Stark Industries in the department of acquisitions. It's never outright specified in the films exactly how far back Tony and Rhodes go, or what events took place that led to them becoming friends and business partners. What is obvious is that Tony trusts him, and that trust seems to go both ways. Of course this doesn't stop Tony from driving Rhodes up the wall. Rhodes is the sensible one in the friendship (though granted most anyone seems sensible next to Tony Stark), often castigating Tony for his lax and irresponsible behavior, even referring to himself once as Tony’s babysitter, which is not entirely untrue, considering how many times he's had to clean up after Tony did something impulsive. More than once Rhodes has had to put his foot down with Tony, but even after they had a physical fight in Iron Man 2, Rhodes was able to quickly set aside his frustrations, and fight alongside Tony in the upgraded Mark II machine that he took from him.

It also bears mentioning that Rhodes has Tony listed as “the Starkster” in his cell phone, whether he intentionally gave him that nickname, or Tony put it there, himself, and Rhodes never got around to changing it.

Then of course, there is Virginia "Pepper" Potts, Tony’s personal assistant, who isn’t his right-hand woman as much as the right half of his brain walking and talking. Clearly she’s been with him for a long time, as she knows everything that helps get Tony through his life, from his business to his social security number. This makes him somewhat co-dependent on her, and at one point, he confides in her that she’s the only person he has. Later she confirms that the situation is mutual. Naturally, being the love interest in a superhero story, he’s had to save her on more than one occasion (though to be fair, she’s also bailed him out of a few life-threatening situations), and despite the fact that he can’t even remember her allergy to strawberries, Pepper means a great deal to him.

There is more than just a spark of attraction between them: both Pepper and Tony dance around each other, flirting and then drawing back (Pepper considering their professional situation, and Tony having enough sense to follow her lead), until the end of Iron Man 2, when they finally act on their feelings and get together. So by the time the Avengers rolls around, Pepper and Tony are an established couple. And despite his flirtatious nature, and his bedroom being purported to have had more female traffic than a (something), he seems fully devoted to her. In the final act of the movie, there is a nuclear weapon sent to destroy Manhattan that Tony redirects into a space portal, knowing it could mean a one-way trip, and he wouldn’t be able to escape. Pepper is the one that he calls.

However, despite Tony’s glorious lack of social tact, he does find it within him to be decent to other people (sometimes). In the first movie, he calls Pepper into his workshop to help him replace his arc reactor, and while she is stressed out about the process, even making a mistake that sends Tony into cardiac arrest at one point, he calmly and very kindly talks her through it. A similar scenario emerges in the Avengers when the helicarrier is attacked, and Tony is left alone with Steve to help him fix the propellers. He’s able to work with Steve and remain calm and patient despite Steve’s technological impairments and their heated exchange of words beforehand. And judging by his exchange in the Humvee and the way he interacts with crowds, he knows how to make people feel comfortable around him.

Elena Gilbert (The Vampire Diaries) → reserved

[risks]

OOC Info;
Name: Crystal
Age: 24
Ways to contact: fancynewmail @ gmail ; rehymenated
Characters currently played: n/a

Character Info;
Character Name: Elena Gilbert
Canon: The Vampire Diaries (television show)
Canon Link: »»»
Canon Point: 3.22, “The Departed”, when Matt’s truck hits the water off Wickery Bridge
Character Age: 18
Character Suitability: n/a

personality / powers & abilities / items on their person

[risks]

Personality:

After Elena Gilbert’s parents died, she pledged that she wouldn't be the sad little girl who killed lost her parents: she would be someone different. She answers, “I'm fine” when someone asks how she is, but never really wants to know. She would be the invincible, bright girl she was before that night, no matter how unrealistic it is. She would survive because the truth is Elena doesn't know what else she can do. No one can tell her why she's alive and the people she loves most are dead.

That is the crux of every decision Elena makes – be it accepting (and loving, and forgiving, and identifying with) morally questionable vampires, or going on a martyrdom parade to save her friends and family. It’s about how scared she is of losing and/or inadvertently hurting her loved ones, because she seems to lose and hurt them at every turn, and that’s all her fault. She is determined to avoid loss more so than dying, if not more so than saving everyone simply because it's the right thing to do.

And yet despite all the sadness and guilt she carries, she still believes that there is good to find and experience in the world. She continues to keep living and wanting to live a normal (or normal enough) life, searching however blindly for a reason besides there's no other option - for herself, for her brother Jeremy, and for her friends. She keeps trying, because if Elena's anything at the end of the day she's a fighter - not just a survivor.

As a result, Elena has found ways to cope with death surrounding her: she has learned to become a more independent person, even while falling back on her idealistic notions. She still upholds them, her morals, and her humanity with a fierceness. She is not just going through the motions anymore. (For example, she didn't fight the sacrifice in season two and instead decided to go along with it, for the sake of her friends and family. In season three, she trained to protect herself and fight whatever plans Klaus has for her.)

That said: Elena makes questionable decisions. She makes several attempts to sacrifice herself to save the people she loves behind their backs, she erases her brother's memory to save him from the pain of grief, and she extends forgiveness to those who probably do not deserve it. She is noble, but she is not a saint. She is selfless, but is selfishly motivated; taking drastic, reckless, and sometimes ruthless and manipulative action that is often harmful to her and the loved ones she is trying to protect. She will do whatever it takes: she will be the bad guy. She will be ruthless and vindictive. She will stab someone in the back. (And has, figuratively and literally.) Yet Elena is still an understanding person. She can be that person because she cares so much, because she understands when others harden against sympathizing.

Elena acts this way because she operates under a severe sense of inferiority to her loved ones. She holds them on a pedestal because they are not like her - they deserve to live because she should have died (with her parents, during the sacrifice, etc). Elena would argue vehemently they could go on without her, but not without each other. Still so many people die and leave anyway, although not for lack of Elena trying to save them. So dying herself would work just fine for Elena. Living is hard for her; she’s motivated by survivor’s guilt. A part of her doesn’t want to go on and would rather be allowed to let go. This is not a suicide wish. This is because Elena can’t ever underestimate her own meaning again: people will die because of her. That’s the last thing she wants.

Oftentimes Elena is stubborn and idealistic; not in touch with the reality of her loved ones or relationships because she believes in this “pedestal”. (One might argue perhaps this is because she is too much aware: she can’t lose anymore people, so she will keep them at her side despite any harm it brings/brought to her or others emotionally or physically. She will believe in them.) Elena will excuse abuse for love, and do so multiple times.

Essentially, Elena is an eighteen-year-old girl who has dealt with more than any teenager should for no other reason besides her carbon-copy existence. That’s the crux of her personality: there is nothing special or unique about her, no reason she is the center of all this chaos. That she looks like Katherine is arguably the only reason the Salvatore brothers stuck around and consequently fell in love with her, that she was born a doppelgänger is the only reason everyone dies around her, that her life and death are essentially the key to everything. She was born with a face that is not her own; her life in many regards is not her own, and she is in a constant struggle to own it (and sometimes she wants to give in, too). But she doesn’t. Elena Gilbert would never call herself tough - she feels too much to consider claiming that. But she always finds a way to keep surviving and fighting to the last, even if that only means finding a reason to get out of bed in the morning.

Powers & Abilities:

As a Petrova doppelgänger, Elena’s blood is the key in many rituals and sacrifices pertaining to the creation of Original vampires and hybrids. However, she is still a normal teenage girl. Elena has all the weaknesses and strengths of someone her age. She is also in peak physical condition: she trains and arms herself in any way she can to be able to protect herself. This includes regimental running, strength training, boxing, and working knowledge of weapons such as stakes, crossbows, and vervain/wolfsbane grenades. (Which she can make herself.)

Items on their Person:

The only items Elena would possibly have on her person are the clothes on her back.

Natasha Romanoff (codename: Black Widow) | Marvel Cinematic Universe | reserved

[amber]

OOC INFO;
Name: Amber
Age: 24.
Ways to contact: greyjoy.
Characters currently played: None, but I have Arthur Pendragon on reserve.



CHARACTER INFO;
Character Name: Natasha Romanoff.
This is an anglicisation of her name in Russian, Наталья Романова. Her first name can also be read as Natalie or Natalia, and her surname can be read as to Romanov or Romanova, but I’d prefer all her game admin stuff keep the movie canon name. She also uses Natalie Rushman as a psudonym and her callsign/superhero name is Black Widow.

Canon: Marvel Cinematic Universe.
Specifically the films Iron Man II and The Avengers. In lieu of making up her backstory and interpretation from nothing, I choose to use small amounts of non-retconned Marvel 616 comics-verse as “headcanon” for her early life where it matched the snippets given in the movies; it’s mostly the same stuff used in the David Hayter Black Widow script that never made it to production: I'm willing to risk being Jossed by the man for whom the trope was named. Major differences and gaps are post-Russia, as I don't want to include or assume history/headcanon for any other movie-canon character. She's definitely not 616 Natasha, and characters apped from that canon would have to acknowledge her as alternate.

Canon Link: Natasha in MCU specifically. The Black Widow on Wikipedia (all canon appearances across media). Official Marvel.com page has a good quick rundown of her early history.

Canon Point: The Avengers, end of film.

Character Age: Appears 27. Actually 83.

Character Suitability: N/A.


Personality:
The most immediate and unlikely word that comes to mind with Natasha is direct. Though she may play games and love the Thanatos Gambit, there is something very direct about Natasha. She speaks directly, and doesn't take any shit. Level-headed and fairly logical, she has a soldierly way of addressing those around her. Though she may convey respect or derision with her words, she never coddles, never elaborates with unnecessary information, and can basically come off as a cold-hearted bitch.

There is ice in her; perhaps it's her Russian upbringing. But it is the shell around a core of warmth. Natasha is capable of great depth of feeling. She loves and hates both of her countries — she considers herself American by this point, and her accent is flawless, though some of the other languages she speaks have a hint of Russian tinting them — but more importantly, she loves humanity. She has been known to also fall intensely in love with individual men, but has had her heart broken and her life endangered enough that she closed off. So despite these deep feelings, Natasha isn't interested in romance. She would find it difficult to open up and make herself vulnerable in the ways that are required for a relationship, and though sex can be stress relief, her body is a tool that she uses to manipulate others.

Short of outright prostitution, Natasha is willing to use her sexuality to get what she wants (as she does with Tony Stark) and also subverts the notion that women are all hysterical creatures, often playing up her female vulnerability in order to make men relax their guard around her (as she does with Loki). Secretly, she enjoys taking men down a peg or two: she has a fair bit of sisterhood solidarity, particularly obvious in how she manages to work an alliance with Pepper as Natalie, though there aren’t enough women in movie canon to give other strong examples of this.

As a spy, Natasha has an excellent acting ability, and as such she makes sure she has control of her emotions and the way she displays them, down to her facial muscles. As such, her reactions tend to be minute. She does not laugh often, preferring to smile, or perhaps imply amusement with cutting wit. She does not rage, but has a cold determination that takes the place of anger. She doesn't shed real tears. True emotion is a weakness that could be used against her, while false emotion is something that she can use to manipulate others. And manipulation is what she does best. To some degree for pleasure, though Natasha is not particularly sadistic or prone to visible schadenfreude or gloating.

Because of this, Natasha is hard to read. However despite working a profession that requires her to lie frequently and without hesitation, Natasha tries her best to be honest with herself. She neither buries her guilt nor constantly relives it to castrate herself. By taking the brusque attitude of "what's done is done", she essentially makes it harder for people to push her buttons. Natasha doesn't like people to get inside her head, and she is very possessive of her privacy in all areas. But part of her defense is to try and have no weakness, by acknowledging and owning her weaknesses and dark past. This honesty is also something she prefers (rather than expects) in others. Which is probably a little ironic, all things considered.

Of course, she does have a massive weakness, and that is the shadow cast by her controlling nature. Natasha is decent in volatile situations, she can react quickly and improvise, but she doesn't like being put into a corner with no further back-up plan. She over-prepares. This is why she fixates on Bruce Banner so much: knowing the Hulk could tear her apart and can't be reasoned with or manipulated terrifies her. She also finds it difficult to wind down, relax, or "turn off", and as such isn't good at genuine and friendly social interaction like team banter.

Natasha would like to be redeemed for all the wrong she has done in her life, though most of her misdeeds have been done out of loyalty to a cause and a lack of sense of self; she sold herself to the highest bidder before realizing that she could make a choice to only do good. But of course, she hides herself here, too; by framing it as a desire for balance. Natasha has an eye for an eye mentality, so while she will be driven to act out of vengeance, the debts owed go both ways and she is willing to help those who have helped her.

Part of being so controlling and locked down is that Natasha likes to be informed and on top of things; she's the type to do the research and try and fit the pieces together, use her knowledge of the way people work to understand motives, and then in turn, use them. She is better suited for second in command than a team leader, but despite this she's an excellent strategist and willing to follow orders. There's a strange dichotomy in her independant, loner nature and the way her past in ballet seems to make the flow of her fighting as a team into a collaborative dance.



Powers & Abilities:
Natasha hasn’t the superpowers of her co-Avengers, but she did undergo some lab testing in the Red Room. Government treatments have slowed her aging, augmented her immune system and enhanced her physical durability. Since in reading the FAQ questions I think you’re dampening Steve down to her canon level, I’m happy to dampen these near completely and rely on her natural fitness and talents. (So unless she starts getting her powers back she will have no bite immunity.) And, as with Fury, she will start aging again.

However she has plenty of talents and abilities that are not in any way superhuman. Decades of life and training leave her with an incredible array of skills that earn her the title of super spy.

Natasha has been able to master several forms of martial arts: karate, judo, aikido, savate, boxing, lucha-libre style wrestling and multiple styles of kung fu. She is an Olympic class athlete, gymnast, acrobat and aerialist. She is excellent with a variety of weapons, including being a sharpshooter and quality marksman, and is able to improvise and create weapons from things around her.

In addition to combat capability, she is read/write/speak fluent in Russian, English, French, German, Latin, Japanese, and Mandarin Chinese. While technology is not her forte (she’s much better at software than hardware) she’s able to hack into computers without being detected and knows what she’s doing in a security system. She has spy training both for Russia and America and is a high-ranking S.H.I.E.L.D. agent, meaning she is a very good actor including muscle, breath, pulse and emotion control, and is able to manipulate others, particularly men, to get information from them. (Tony Stark, Loki, and the interrogation scene in her first scene in Avengers are all examples of this.)


Items on their Person:
Natasha arrives wearing a form-fitting black catsuit outfit. The material is bullet proof and thermal. It has several concealed zippered pockets sewn in. It has zippers around the thighs and bicep areas so as to become shorts/short-sleeved if caught, damaged or overheated. She wears flat-heeled, knee-high, black leather boots with steel toe caps, and fingerless gloves. There’s a S.H.I.E.L.D. logo on the left shoulder. ( large image of catsuit )

At her wrists are her “Widow’s Bite”. These are twin bracelets that are never used or explained in the movie, but according to comics canon, can “issue high-frequency electrostatic bolts of up to 30,000 volts, capable of stunning even a superhuman opponent at a range of at least 20 feet, shoot tear gas cartridges and act as a radio transmitter. The bracelets’ various functions are activated by galvanic sensors keyed to Black Widow’s wrist musculature.” This is obviously ridiculously overpowered, and I’d be willing to say they can only issue a sharp but non-life threatening electric shock, or that they have a limited lifespan, or are broken in some way or nonfunctional or even non-existent, whatever the mods prefer.

She wears a standard utility belt with torch, switchknife, water cannister, a flashbang grenade, and ammunition, as well as two thigh holsters for her Glock 26s.



She also carries on her person: a garotte at her wrist. A knife in her boot. A Four kunai (throwing daggers) and a couple of “taser discs” which are made up weapons that basically act as a ranged taser attack.

(Exact numbers of items aren’t clear in canon, but I felt the limitation of specificity was better for this sort of game.)



SAMPLES;
First Person Sample: Voice.

This is Black Widow. I've got a horde over by the mall growing in disproportional rate. I don't know if they're getting ready for a swarm — if they even have the intelligence for that...

[ Natasha trails off, distracted by the movements of the zombies. ]

I'm hidden, but if they come this way I may need back-up. A girl can only carry so many bullets, you know?

[ Her voice goes a little coy at the end, like a princess in her tower, hoping on of the big strong men will come save her. What the microphone doesn't pick up is the easy, confident way she handles her guns, readying herself to fight and possibly die. ]

Maybe some kind of distraction would get them moving. If we're going to leave this city, we're going to need to get supplies from that mall, first.

[ What's all this 'we' stuff? Thing is, Natasha's not stupid. She knows when she's outnumbered. It took all the Avengers to defeat the Chitauri as they'd swarmed into New York City; it might take even more than that to take on the walking dead. ]

[ But she doesn't want to sound too much like she knows what she's doing, not at this point. Not when she doesn't know who's listening in. Her tone goes a little tremulous again, like someone trying, and failing, to put on a brave front. ]

Does anyone copy?


Third Person Sample:
Natasha leaves the movie rolling as she tucks away the last of her knives, clips crackers to her utility belt and fills her canister with the water. After a moments thought she takes some time to do some stretches, holding on to the table they'd had her strapped to. Like a science experiment. Who knows how long she's been out, but her muscles need it, joints popping as she warms herself up.

Natasha's expression is implacable, given she's just spent several minutes reading those obnoxiously cheerful pamphlets, but then, Natasha's never been big on showing her emotions. Which is probably good, because she's not buying it.

Oh sure, there's the movies, the scattering of comics, but what does that prove? Beyond the fact that whoever's behind this has resources and a lot of nerve. Get a girl and put her in a red wig, do a few sweeping camera shots, some close-ups on her unconscious body, hypnotism, a green screen; her mind automatically comes up with a dozen ways to fuck with someone like this, make them think they're not real. Derealization is a powerful psychological technique, after all.

Mostly she's pissed off, because they're trying to get inside her head, make her play their game. Natasha doesn't like people inside her head. She's been taken apart once in her life, and she's still kind of finding the pieces, tiny overlooked fragments chipped off of herself.

At least they've left her equipment, which is more than most of her captors usually do, and now that she's locked and loaded Natasha goes to the door, ignoring the fake sound of automated gunfire from the TV behind her, the sound of Clint's voice, tinny through the speakers, saying her name.

She kicks the door open. It goes easy because it's not locked, but it still feels good. She's more than ready for violence, wants to hit something hard, wants the pump of adrenaline in her blood to take all the lurking fear away and make her feel invincible. So when the first zombie smacks up against the glass, slavering and bloody and wholly inhuman, Natasha does something she'll probably later look back on in disbelief: she smiles.


Additional Information:

ACCEPTED

[jumpscare]

We are pleased to accept your application to Dead Weight. Welcome to Kingswater. You have been chosen for the Human Regenesis Project. Your starter weapon is a morning star. Feel free to peruse the arrival post to know what to expect upon revival.


• Please create your character journal if you haven't already, then join the following communities: deadweight (network), deadlogs (logs), and dryrot (ooc). Optionally, join our meme community, drybones.

• Comment to the taken characters page. Create an IC INBOX and, optionally, a PERMISSIONS POST within your journal.

• Once you've been let into the communities, reply to the contact page and introduce yourself on the OOC community. Join the AIM chat at deadweightchat and/or follow the mod plurk at deadweightmods, if you'd like.

The game opens on July 1st at 12:01AM EST. Good luck in the Real World.

Klarion the Witch Boy | Young Justice | not reserved

[klarion]

OOC Info;
Name: Athena
Age: 26
Ways to contact: Email: roningal at yahoo dot com | AIM: Untold Ideas | Plurk: journeymansurvival
Characters currently played: N/A

Character Info;
Character Name: Klarion the Witch Boy
Canon: Young Justice
Canon Link: Klarion on the Young Justice wiki
Canon Point: Post-season 1, after transporting himself and Vandal Savage off of the Watchtower
Character Age: Ageless; appears in mid-teens
Character Suitability: N/A

[klarion]

Personality: Klarion is a brat -- an unapologetic, easily-bored brat. Add to this the fact that Klarion is a Lord of Chaos (a powerful sorcerer that is chaos personified and only properly rivaled by a Lord of Order) and you have a very dangerous creature. Being an ageless being of chaos, Klarion thrives off of acts of rampant change and violence, and causes said chaos because it is his very nature to do so. He displays a tendency to focus on things that he considers fun or entertaining, having to be reminded of his tasks and reined in by his familiar, Teekl. He shows no fear of his enemies, as he cannot truly be killed as chaos personified; however, when Teekl, his anchor to the physical plane, is threatened, he displays anger and defensiveness.

Though he is shown to associate and collaborate with other villains throughout his appearances, Klarion appears to have a rather flippant view of his allies' worth, as he has stated that teamwork is overrated and has abandoned allies with no regard for what happens to them once the heroes have overpowered them. The exception to this seems to be other members of the Light, a group of seven 'supervillains,' as he has partnered with them and facilitated their escape when necessary. For the most part, it seems that Klarion's actions are fueled by entertainment, and once he grows bored or someone ruins his fun, he is okay with backing away and making his escape.

Klarion, for all appearances, comes across as an sadistic, immature child with more than enough power to do whatever he wants. He calls people under his power "toys," throws childish insults at Doctor Fate (one of the Lords of Order), applauds while watching torture, complains when faced with something unexpected (such as when he expected to meet T.O. Morrow and met Doctor IVo instead, which led to him saying, "I didn't order this! Send it back!"), and acts annoying for the sake of being annoying (such as asking repeatedly while heading to a destination, "Are we there yet? Are we there yet?"). He scoffs at weaker displays of power, calling the magician Zatarra's own magic "baby magic" before mockingly using the same brand of magic to knock her away.

The only thing that Klarion seems to regard well with any degree of frequency is his familiar, Teekl. Though Teekl is instrumental to Klarion's existence on the physical plane (being his anchor to the human world) and thus his only real weakness, he treats Teekl with care, carrying the cat in his arms or across his shoulders and stroking Teekl's fur just like any cat owner would. He does have spats with Teekl, telling the cat to be quiet so he can watch a torture session and arguing with the cat for messing around while fighting Doctor Fate, but for the most part he heeds his familiar and considers Teekl's advice.

Powers & Abilities: As a Lord of Chaos, Klarion is a very powerful sorcerer only shown to be properly rivaled by a Lord of Order -- and even then, it's said outright that he cannot be contained and it is futile to attempt defeatin. In the episodes that Klarion appears in, he's demonstrated the magical abilities to create fire, lightning, ice, and energy blasts; manipulate earth and a unique mixture of nanotechnology and magic (technosorcery); form magical barriers and shields, as well as physical barriers by manipulating elements; fly and hover without visible propulsion; dissipate bonds created by a Lord of Order; teleport and open portals capable of transporting himself and other people; speak telepathically with his feline familiar, Teekl; and transform Teekl from a domestic cat into a beast resembling a sabertooth tiger. He has also shown the ability to shapeshift his rather human-like appearance to a decidedly more demonic appearance with beady red eyes and more pronounced facial features. His magic varies in shape and is largely done without any verbal chanting, and it is implied that he is capable of more distructive magic when he "loses control" (possibly capable of destroying the Justice League's Watchtower, a huge satellite orbitting in space).

Besides performing magic, Klarion also feeds off of chaos and thrives off of it; he does not require food or sleep. He also does not appear to tire from using as much magic as he does.

Arriving in the laboratory, Klarion will be reduced to the physical restraints of his human-appearing body; he will need food, sleep, and be no physically stronger than a skinny teenager with no body strength. He won't be able to shapeshift to his more demonic-looking appearance and won't be able to feed off of chaos.

Pertaining to his magical powers, Klarion will still be able to create tiny feats of magic:

Fire - Small spheres of fire no larger than fingernails in size. Creating more than three simultaneously will tire him significantly.
Ice - Only strong enough to encase his hands in a thin layer of ice.
Lightning - Sparks of electricity from the fingertips that would produce, at best, the sting of mild static shock.
Flight/Hovering - Reduced to the ability to jump somewhat higher than a human being.
Telepathy - If Teekl is available, he will be able to speak with Teekl as normal; however, seeing through Teekl's eyes will tire him (likely in the form of a headache).

He will not be able to use protective magic or earth-based magic, and continued use of his magic will tire him, which is different for him. (Please feel free to give advice on proper limitations of his magic.)

Merlin | BBC'S Merlin | Reserved

[zombmi]

OOC Info;
Name: mi
Age: 21+
Ways to contact: derpturk@gmail.com ; aokigahara @ Plurk
Characters currently played: N/A (Also have Robin Hood on reserve.)

Character Info;
Character Name: Merlin
Canon: BBC's Merlin
Canon Link: In a land of myth and a time of magic.
Canon Point: Post 2x13 (The Last Dragonlord) after Merlin drives the dragon away from Camelot and Arthur regains consciousness.
Character Age: 20ish
Character Suitability: N/A
Personality:
Merlin is a balance of ridiculously average and ridiculously special. He's a servant who in the beginning could be lazy and looked for magical shortcuts to complete mundane tasks. He is a bit awkward and clumsy and definitely mischievous. Merlin won't hesitate to resort to lying to cover his tracks, even if he's not always very good at it. But add a touch of magic and the whole "destiny" thing comes into play.

At his core, Merlin has a strong sense of right and wrong, but can also see into the hearts of others. He's empathetic towards their plights, especially when he could find himself in the same situation that they are. He's not one to sit idly by when someone's being treated unfairly, especially not if it's someone he cares about. Merlin makes friends easily and is selfless in that regard, the kind of friend who would risk or even trade his life for another, as he's done for Arthur, Gwen, Gaius, and his mother. But he will also kill for them if left with no other choice. Merlin isn't a warrior and he can feel and admit to fear, but he has courage in spades where his destiny is concerned, and has shown time and time again that he's willing to die for it.

Most of the time Merlin wears his heart on his sleeve, can laugh and cry and listen and speak up. But he still keeps some things to himself, and can close himself off from others when he's especially sad or troubled. Despite Arthur calling him the worst manservant he's ever had, he's actually quite domestic and helpful. Physically he's thin and sharp, clearly out of his teen years but there's still something boyish about his personality. Merlin also possesses a dry sense of humor, though he can take a joke as well as he can make one.

Though at times a worrier who questions whether things are a good idea or not, there is also a rash and bold side to Merlin, even if his intentions are usually good. He has proven himself to be a quick thinker, but has been known to use his magic without fully considering the consequences. If Arthur's right about anything, it's that he never does as he's told, and he sometimes speaks in the same bold way. Despite the fact that he and Arthur are friends (or maybe because of it), Merlin sometimes speaks to him with an insolence that another Prince would have his head for. But he is also a source of support and wise counsel, not to mention fiercely loyal. Even Uther, who would have Merlin executed if he knew his secret, has commented on Merlin's devotion to his son. To his credit, Merlin has gotten better about using his magic too impulsively, learning as both he and his powers mature.

While he usually tries to see the good in everyone, he won't forgive anyone who hurts a friend, and this is the quickest way to bring the darkness in him. Merlin also has a habit of being swallowed up by his own powers and destiny. He's made peace with the idea of it, knowing that as troublesome as it is, he can't be extracted from it. But what defines him is also a source of fear and doubt, as the discovery of his gift could spell the end of his friendship with Arthur, as well as his life. Because of this, he acts from the shadows and rarely gets recognition for the things that he does. Even worse, it leaves him with a lonely streak and the feeling that very few people ever see him for who he truly is. But the fear of being revealed is greater.

Powers & Abilities:
"You are a question that has never been posed before, Merlin."

The name is well-known. But this much younger warlock is still learning about the magical gifts that he was born into. That said, he's already used magic to move objects, stop or slow down time/an item, animate inanimate objects, summon fire, wind, and lightening, pick locks, put up a magical barrier to protect himself from magical attacks, heal...the list goes on. Even though his abilities are inherent and instinctual, studying and incantations help strengthen and control them. He is also a remarkably fast learner and also has a resistance to magic that the average person doesn't possess.

Merlin is also a Dragonlord, like his father before him and supposedly the last of the line. Through this he is able to speak to dragons and make them obey his commands.

Merlin's powers are vast and somewhat vague in the series and will obviously be needed to be watered down pretty heavily in the game. His powers as a Dragonlord, null and void completely. I would like to bring him down to the point where he could only heal minor wounds (cuts and bruises), summon a flame to his hand (no more than a cigarette lighter's flame), and enough power to give small objects a nudge (scooting a cup across a table, for example). If any of these is seen as too much, I'm fine with nerfing it.

Items on their Person: Nothing but the clothes on his back and a sword that he's not very good with in the first place.

Samples;
First Person Sample:
Hello? Am I using this thing properly?

[He's mostly asking himself that question, his voice wary at using this technology for the first time. But then he thinks of a better question, one where the answer's more important.]

Is there even anyone out there to hear me? Surely there must be.

[Merlin takes a deep breath. On the bright side, he is getting the hang of his phone. He's always been a quick learner when he needs to be.]

It looks like your kingdom's in a lot of trouble. I'm not sure if it's sorcery or a plague, to be honest. If I could just return to my kingdom, I could come back with help - knights and a real physician.

[And he could look for the source of the sorcery if magic truly were to blame. There's just one problem, and Merlin swallows hard before saying it aloud.]

Only I've been told that Camelot doesn't exist.

Third Person Sample:

"Forbearnan."

The flame dances in his palm but refuses to grow, no matter how many times he conjures it. The light that it gives him isn't enough to cut through the darkness, but still enough to draw them to him.

Merlin runs away the first time, finds a place to hide and does so, watching the zombies with nervous blue eyes as they shuffle past. He exhales, waits for his rapid heartbeat to slow before crawling out. Merlin's glad he did, otherwise the little one would've surely gotten him.

Such an idiot.

Those words will forever be in Arthur's voice, and at the moment Merlin can't bring himself to really argue it. But it's hardly the first time he's gone skulking around in the darkness, even in Camelot he had a habit of it. It's just the first time he's done it with the dangers of the undead lurking about, not that the daylight hours are much safer in that regard. But there are things he needs to do, chores that have taken the place of mopping floors. He needs to fetch water, and see if he can find anything else that might be of use.

Merlin tries to be cautious without jumping at every little sound, but it still feels like forever before he reaches the pond in the park. He crouches down beside it, dips the old bucket that he found into the water to fill. The moon's high and round in the sky tonight, and Merlin watches the shimmering reflection of it. At least until he notices something else behind him.

He stands and swings the bucket by the handle, the water spilling out when it connects with the side of the zombie's head. Merlin doesn't stop there, he keeps hitting it over and over again until it's down. And then he runs all the way back again, with nothing to show for the night. Nothing but a dented bucket.

Once he's found shelter, Merlin slides down the wall and sighs. There's that idiot word inside his head again.

"It's fine." He mutters, pursing his lips. "I wasn't really that thirsty anyway."

Additional Information: Nope!

ACCEPTED

[jumpscare]

We are pleased to accept your application to Dead Weight. Welcome to Kingswater. You have been chosen for the Human Regenesis Project. Your starter weapon is Rapier. Feel free to peruse the arrival post to know what to expect upon revival.


• Please create your character journal if you haven't already, then join the following communities: deadweight (network), deadlogs (logs), and dryrot (ooc). Optionally, join our meme community, drybones.

• Comment to the taken characters page. Create an IC INBOX and, optionally, a PERMISSIONS POST within your journal.

• Once you've been let into the communities, reply to the contact page and introduce yourself on the OOC community. Join the AIM chat at deadweightchat and/or follow the mod plurk at deadweightmods, if you'd like.

The game opens on July 1st at 12:01AM EST. Good luck in the Real World.

Alaric Saltzman | The Vampire Diaries | Reserved

[lionheart]

OOC Info;
Name: Hannah
Age: 22
Ways to contact: AIM: a rose tango, plurk: scathefire
Characters currently played: N/A.

Character Info;
Character Name: Alaric Saltzman
Canon: The Vampire Diaries (TV)
Canon Link: Here.
Canon Point: 3x7, Ghost World.
Character Age: ~33. Since no canon evidence has been given, I go by the actor's age.

Personality

[lionheart]

Personality: Alaric is, at his core, a good and respectable guy. He thoroughly believes in giving others second chances – we first see this side of him when he gives Jeremy a clean academic record when he first comes to Mystic Falls, despite Jeremy having a past of shoddy attendance and drug use; the second time, and the most notable, is when he becomes friends with Damon who, for all intents and purposes, he should despise. It probably helps that Alaric realizes what a selfish bitch Isobel was despite his total adoration of her during their marriage, but that is only one small reason why he forgives Damon for “killing” Isobel (which he initially believes is the case) and then for murdering Alaric himself.

After taking up the substitute teacher gig after Mr. Tanner’s murder, Alaric quickly acquires the role of the “cool” teacher – without really trying. Funny enough, outside of the classroom Alaric seems to be uncomfortable in large crowds, especially when he is the focus (when on stage at the Bachelor Auction and asked to relate an interesting fact about Mystic Falls, he can only fumble and eventually drop the question). He’s equally as awkward in close social encounters, such as his first few conversations with Jenna when he seems to overshare embarrassing stories and facts about his past. As he gets closer to people, he warms up to them very quickly; he smiles often and is generally very open in his conversations.

Alaric is pretty damn courageous, too. Despite knowing Stefan and Damon are vampires and could quite easily kill him – especially the latter – he never gives into their demands (unless blackmail is involved, of course). This is especially clear when he specifically hunts down Damon to kill him, knowing full well that vampires are many times stronger than humans. His devotion to Isobel, which led to his quest for vengeance, is another defining feature: if he gets into a relationship, he’s in it for the long run. He stayed dedicated to Isobel’s memory for over two years despite being told she was dead. Even when she finally confronts him as a vampire and denies feeling remorse for leaving him, Alaric stands up to her and refuses to believe that she ever stopped loving him.

Damon is an interesting gray area for Alaric; initially he wanted nothing more than to kill the other, especially after Damon rubbed turning Isobel in Alaric’s face. After Damon kills him, things seem to gradually change between them. Just a few days after Damon murders him, Damon asks him for help in saving his brother – although he initially denies the request, he gives in because he sees the way Damon is willing to protect Elena, which proves he has some humanity in him after all. As time goes on, Alaric continues to help Damon in his various escapades, despite the fact that his activities should push him onto Alaric’s shit list. Like Stefan, Alaric seems to grudgingly acknowledge that Damon is a murderer and that murder is what he does; this acceptance creates a morally cloudy area where Alaric temporarily shifts his strict moral code in order to give a berth for the vampire. The berth grows to the point where he keeps following Damon into very shitty, life-threatening plans, and in 2x15 he makes a demand of Damon for the first time: that he stops lying to Alaric, especially when it puts people he loves in danger. He firmly establishes himself as Damon’s friend, exemplifying how far Alaric’s forgiveness and ability to appreciate even a monster’s humanity goes.

Unlike Damon, however, Alaric is not particularly skilled in the art of deception. He instead prefers an honest approach, and he isn’t exactly afraid to voice his opinion, even if he does it in a less than succinct way. This means he usually gives Damon and Stefan shit for their horrible plans. In a way, Alaric is the sole voice of reason out of the entire cast. (And, maybe for this reason, he’s also left out of a lot of particularly bad plans.)

With his friendly and warm demeanor, it’s also particularly difficult to get Alaric riled up – unless, of course, Isobel is used as the stick poking at the embers. He reacts amazingly quickly in moments of dire urgency – such as staking Henry immediately when he begins to attack – and is crafty in his invention of new weapons to be used against vampires. All of the weapons the group uses, including compressed-air powered guns, vervain-filled darts, and spring-loaded stake-shooting guns that wrap around the wrist were invented by Alaric; all of these are the result of a mind that is greatly interested in the history of places and people.

Like Elena, he tends to have both a martyr streak and a hefty amount of self-deprecation. After Jenna’s death (which he blames himself exclusively for,) he begins drowning his sorrows in alcohol, barely functioning at all as the guardian for the Gilbert children he wants to be. He often comments how he’s failing them, letting them down, and that he’s a horrible teacher and an even worse role model. Eventually Elena points out how the only family they have is each other, and he starts lifting himself after the post-death rut in order to really get involved in protecting his town and his (pseudo) children.

Aside from that, and probably because of it, Alaric is often quick to sacrifice himself for others. In a way, the ring which allows him to regenerate after death from supernatural causes has helped seal that low sense of self-worth. He, along with the other characters, generally see him as a sort of meatshield because his deaths quickly start to lose their meaning. Regardless, even without the ring, Alaric does not hesitate to help anyone who asks for it. He is the morally strong center of a show that is populated with morally corrupt characters. Alaric’s “dark past,” hinted at by another character, is actually a series of spots on his records in which he would start bar fights in order to white knight for the weak. While his friends are monsters, he has an intense affinity for humanity and will stop at nothing to protect them from the creatures that prey on them.

Betrayed by his obsessive need to find Isobel when everyone else had pronounced her dead, Alaric has a loyalty that is easily earned but hard to lose. He admits near the end of the series (a canonpoint past my own) that the life he had taking care of Jeremy and Elena as their guardian was “the closest [he] ever got to the life [he] always wanted.” Alaric’s love for his family transcends most things, and they are the people he will sacrifice absolutely anything for. Despite Isobel hiding the existence of Elena from him, he finds himself loving her anyway, taking her on as both a pupil and a daughter. He becomes the male role model for Jeremy when he has none, also taking him on as a father. While Alaric would be the first to admit what a terrible guardian he is in every aspect, he has never hesitated in doing what he thinks is right for them, even when what he thinks is right is exiling himself from their lives. Because of the dangerous company they surround themselves with, he has taken it upon himself to train Elena in a matter of various self defense techniques, using the knowledge he has gained from being a vampire hunter to teach her weaponry, fighting strategies, and to physically bulk her up. Assuming from later episodes in which Jeremy utilizes a crossbow effectively, he does the same for Jeremy. As much as Alaric wants to protect his family, he knows it’s far more important that they protect themselves.

Damon Salvatore | The Vampire Diaries | Reserved

[saviored]

OOC Info;
Name: Maia
Age: 22
Ways to contact: discontinued
Characters currently played: n/a

Character Info;
Character Name: Damon Salvatore
Canon: The Vampire Diaries (TV)
Canon Link: here
Canon Point: 3.22 - after his phone conversation with Elena.
Character Age: approx. 170; appears mid-20s.
Character Suitability: n/a

[saviored]

Personality:

Because when they see good, they expect good. And I don't want to have to live up to anybody's expectations.

Damon in a nutshell. He spends most of his life as a vampire shutting out his humanity and he puts even more effort into making sure that people know he's not human or a good guy or basically anything other than a cold-blooded monster who doesn't care about anyone or anything. Unfortunately, Damon's a shitty actor and a shitty liar; Elena's the first to see through his façade, but she's not the only one. It says a lot that by late S1 and beyond, people (Alaric, Isobel, Rose) who meet him only briefly recognize just how much he cares for Elena and his brother. It says even more that he spent 145 years devoted to rescuing Katherine. Damon is a creature consumed by love, no matter how much he might deny it. He was that way as a human; as a vampire, heightened emotions and senses dial everything up to eleven. He can be both at his best and his most destructive when he does something for love, but it's definitely not something he does in moderation. Damon in love is like Stefan on human blood—at his core, it's what drives him.

This is not to say, however, that his façade is only a front. He genuinely believes he's not a good person or capable of doing good things. It's a role he finds a twisted sense of comfort in because it's easier, familiar—there's no one to depend on him, no one disappoint, no one he'll fail. He can't when they don't expect anything from him. Accusing Damon of having humanity is like poking a bear with a stick. He might not do anything, but then he might break you in half just to prove you wrong. Even as late as mid-S3, Damon tells Stefan he's "better at being the bad guy," after deliberately making sure he's the one responsible for killing Bonnie's mother, effectively absolving Stefan of that and, in his mind, allowing Stefan and Elena to get back together. It's not as selfless as it sounds—Damon takes the fall because he'd rather ensure Elena hates him than to have her as a friend who might love him, but deep down he believes she never will. It's a screwed up kind of logic, but there it is and it's classic Damon behavior. He fucks things up, whether because he thinks it's inevitable or he's just throwing a tantrum, and then he goes around not being sorry except he obviously is and it obviously upsets him that he's lost a friend, he just refuses to say it (until he finally does). Damon is, essentially, a hormonal teenager if hormonal teenagers also had homicidal tendencies.

Around the canon point he's coming from, Damon's sort of…mellowed out. Sort of. If it can be called that. Basically, he's just a bit less quick to lash out by killing everything in his way. It doesn't mean he isn't willing to do a lot of terrible things to save Elena's life, but there's nevertheless some progress when, unlike the first time Elena rejects him, no one gets their neck broke (2.01) and Damon does not, in fact, lash out violently at all (3.19). He's trying, in other words. It's a slow road and he's not incapable of falling back into his old ways, but he's not the same person he was a year ago, either. He's spent most of the year being forced into a position where people are relying on him, especially Elena, after Stefan took off to eat people and look for werewolves with his BFF Klaus, leaving him as one of the few who could protect her. Besides, when hybrids and original vampires are trying to kill you left and right, there just isn't time to snack on strangers anymore. He's got better things to do and more important people to kill.

There are three significant people in Damon's life. The first is Elena. She's the last person who should've extended her hand to him—he's nearly killed her and her friends on multiple occasions—but she did and it means something to him. Damon doesn't exactly have a lot of people who would consider him worth saving. Along the way, he fell in love with her, but he also knows she loves Stefan. It results in a push and pull where he wants her, but he also continually pushes her away because it's easier when he knows she'll never go for him. There's nothing worse than hope. By the end, her final rejection is enough to give him a sort of death wish where he nearly lets Alaric kill him until a memory of his first meeting with Elena gets him back on his feet. More important than his love for her, though, is Elena’s friendship, and his love is pretty wrapped up in that as a whole. He couldn’t feel for her the way he does if she wasn’t the friend she is to him. He trusts her and he knows she trusts him now, too, and they’re both bound by how much they care about Stefan, by how much his going off the rails has affected them both. She’s the first person he ever trusted, in fact, and with the exception of Alaric, she’s the only one. Damon doesn’t trust easily (he definitely doesn't trust anyone who's betrayed him before, which Elena has) and he’s never had someone he could genuinely call a friend before her. He likes her. He makes her laugh, he enjoys her company, he recognizes that she can make really reckless decisions sometimes and he won't hesitate to call her out on that. She isn't just some girl who looks like Katherine to him; she's someone he cares for as a real person in her own right.

The second is Stefan, Damon's little brother. They used to be extremely close until Stefan’s blood high finally split them apart. Damon resents his brother greatly and there's nothing false about how much he enjoys messing with him, but as per his deathbed confession, he’s come to acknowledge that he’s blamed Stefan for events that weren’t necessarily Stefan’s fault. Even prior to that, he was willing to risk his life to save his brother, taking on a house full of vampires much older than him just to rescue his baby bro. He loves Stefan. It’s transparent as hell, though getting Damon to admit it is like wringing blood from a stone. This does not, however, make Damon any less exasperated with Stefan in general, whether Stefan is a self-loathing squirrel killer or a humanity-less dick, and he's happy to stab Stefan to make a point. They're slowly finding their way back to each other, though. Damon's openly acknowledged that Stefan is all he has and he's put in a lot of effort in trying to get Stefan back on track, helping him control his bloodlust. Stefan's family. There's no doubt that Stefan is the most important person in his life whether he loves him or hates him or both.

Finally, there is Alaric, Damon's best and only friend. Initially in town to kill him, they developed an uneasy alliance that grew into a real friendship over time. Damon's killed him twice, turned his wife, and is a shameless dick, but somehow they like each other. Even Alaric can't explain why the hell he's friends with Damon. Alaric is a demonstration that Damon can care about someone without having to be desperately in love with them. He spends about three episodes trying to get back into Alaric's good graces after he snapped his neck in a fit (whoops?), and he's the only person aside from Elena to whom Damon's openly apologized to.

These are all deeper issues, though. On general level, he is cynical and sarcastic with a tongue that cuts deep, though he can be charming when he wants to be. Plus, he's easy on the eyes and that hardly hurts his case. His mood can be unpredictable with a temper that manifests fast and cold so that by the time you've realized you've pissed him off, you're already dead. The only exceptions are when he's genuinely hurt—after Katherine left him, for example—in which case he just loses it and breaks things. He's also manipulative to the nth degree. It's telling that he manages to gain the trust of the very people who are specifically looking for a vampire. Damon is reckless, but he's not an idiot (for the most part.) He's a schemer and a tenacious one at that: if there's something he wants done or someone he wants dead, he will keep at it no matter how impossible or how many setbacks until he succeeds or he dies trying.

In short, Damon is the definition of morally ambiguous. Although he’s getting better about his disregard for collateral damage, when it comes down to it, he will let people die if he has to. "There's a small list," he says in regards to who he cares lives or dies. He won't hesitate to kill for and he won't hesitate to die for the few people he loves. Once he's decided someone's worth his loyalty, he's there to the end. Anyone outside that list? It's a coin toss whether he'll bother to rescue your ass because he happens to be feeling something that moment or kill you himself because you've just been unlucky enough to catch him in a bad mood.

Powers & Abilities:

ABILITIES

» vampire teeth (fangs + blood floods the whites of their eyes, also darkening the veins beneath the eyes)
» vampire blood (if ingested, capable of transforming someone into a vampire if a human dies with the blood in their system; also heals human injuries) > capable of healing only minor cuts and bruises in-game.
» enhanced speed/strength/reflexes. To the human eye, their movements register as a blur at best. > reduced so that he is only a bit quicker/stronger than the average human.
» heightened senses (sight (night vision)/smell/hearing) > he can see a little bit better at night (I'm thinking shadows mostly?) and his hearing is more sensitive than average so he might catch small movements if it's quiet enough, but he's not going to be listening in on whispered conversations from across the room. Ditto for his sense of smell.

Requesting that his sense of smell for blood remain just as strong, however, if that's okay? It won't really be an advantage since people and zombies are bleeding and dying all over the place.
» compulsion (form of mind control, requires eye contact and spoken orders. can be fought, but only in very extreme circumstances.) > will no longer work properly. I'll leave it up to players whether they want it to work or not and to what extent if/when he does use it, and Damon probably will avoid using it since canonically when you're not drinking human blood it can go wrong easily and he knows that.
» dream manipulation (can control others' dreams) > see above.
» accelerated healing (can recover from cuts, stabs, bullets and broken bones anywhere between seconds to minutes.) > minor cuts and bruises heal immediately; larger injuries will take a bit faster, but something like a broken bone will still take weeks (but not months like it normally would). Deeper wounds will take anywhere from days to over a week.
» immortality > nerfed to fit the game resurrection rules.
» protection from the sun due to a magic daylight ring > keeping this one, of course.

WEAKNESSES

» fire or sunlight if his ring is removed/de-spelled
» vervain (poisonous to vampires; also provides immunity to compulsion. not that important since i doubt anyone will show up with this stuff, but it's here just in case. Damon has built up a slight tolerance to it.)
» wood (extremely painful and will kill if stabbed through the heart)
» werewolf bites (lethal)
» invitations (the owner of a home must invite him in or he cannot enter) > in-game, if anyone sets up what could count as a long-term home (i.e. they're planning on staying there for at least a few months) in any abandoned house/building, he will need to be invited in.

Items on their Person: clothes, wallet, car keys, cell phone, his daylight ring.

Arthur Pendragon | BBC's Merlin | reserved | 1/2

[amber]

OOC INFO;
Name: Amber.
Age: 24.
Ways to contact: greyjoy
Characters currently played: None, but I have Natasha Romanoff on reserve.



CHARACTER INFO;
Character Name: Arthur Pendragon.
Canon: Merlin.
Canon Link: Wikipedia / Fan-Run Wikia
Canon Point: Post-4x3, a week or so after being crowned king
Character Age: Just turned 26.
Character Suitability: n/a.


Personality: Arthur is a mass of complexities and contradictions. As he is growing into his title and adulthood, he frequently alternates between negative and positive traits, sometimes embodying both at once. While it is obvious he is going to be a great king, he is also his father's son, and most of the time, he comes off as a total douchebag.

Spoiled from a young age, Arthur feels entitled to the luxuries his noble birth affords him, and is not particularly good with the words "please" and "thankyou". He isn't afraid to exert his power over people, by bullying or insulting them, and he demands much of anybody who serves him. However, he demands equally of himself, and dislikes the idea that he might achieve things based on his position as ruler rather than because he deserves them. He trains himself rigorously, and while he is also terrible with vocalising apologies, will be hard on himself if he believes he has done wrong by someone. When his people starve because of him, he too goes without food and drink.

The core of Arthur's personality, demonstrated when Merlin strips the pride and will from him, is a childlike desire to please. Arthur's greatest fear is letting others down, and while sometimes that person is his father, or the people who look up to him, it is also sometimes Merlin and his belief in Arthur's inherent goodness.

Arthur's need to impress his father and other figures of masculinity leads him to do terrible things, such as standing by as people are executed for magic, or as a youth, allowing his men to rape and murder a peaceful Druid camp. However, he does have a conscience, enough so that he was forgiven by the ghosts of those dead Druids, and has questioned the laws on magic several times throughout the series. Arthur has fought for innocent people in the past, believing himself responsible for all his citizens, and having a compassionate heart that goes out to any person in need, especially those he cares about such as Merlin, Gwen and Morgana. Those three are (or in Morgana's case, were) also the ones most likely to sway him to think outside his father's commands and do what is right. Arthur is noble at heart, and believes in fair justice (might makes right, and all that) and this frequently brought him into conflict with Uther.

Something else Arthur argued with his father about was his need to risk himself for the sake of pride, honour, or those he cares for. Arthur was born fighting, and knows he must be strong. As a knight of the realm, he knows he must uphold the code of chivalry and honour, and he tries his best to do so even when he knows the code is wrong, such as when Lancelot (a good fighter, but not noble-born) is knighted illegally. Whatever else can be said about Arthur, he is brave: he leads his knights, hunts whatever terrorizes the kingdom, and will frequently be the first to throw himself into danger. He has a severe competitive streak, as his father expected him to win any tournaments he entered, and can be humiliated in loss — though he tries to be a good sport he will often be resentful or in denial (the latter seen both in his mild rivalry with Morgana when they were younger and his decision that Morgause "must have used magic" to have defeated him in combat.) He risks his life often, and the fact that he hasn't lost it is only partly to do with his skill and resourcefulness. The rest he puts down to luck, but really is mostly to do with Merlin's constant magical protection, something Arthur remains oblivious to, sometimes seeming to deliberately turn a blind eye, sometimes being distracted or unconscious during the crucial moment, and sometimes because he's obviously a bit thick.

Despite coming off as someone who is perhaps more brawn than brain, Arthur is a smart man in many ways, especially having had the advantage of an education, and he is often introspective. Though socially awkward due to a lonely upbringing, Arthur is good with words, able to give a rousing spur-of-the-moment speech when he needs to, quick with a sarcastic one-liner, and though when it comes to his emotions he tends to live in subtlety and innuendo he also, when needed, can clearly speak his heart.

As his duties are more important than his emotions, the idea of King Arthur being bigger than the actuality, Arthur often maintains a facade of stoicism or dismisses his and others' personal opinion as irrelevant. In love, he tends to be quietly emotional and fond: his declarations or outbursts are either the result of an enchantment (such as the Sidhe Sophia's, or his love spell with Vivian) or the pressure of dire circumstances (such as telling Guinevere he loves her as she is torn out of his arms, presumably to be executed by his father.) The distance of Arthur's station mean Guinevere, at 22, was his first real love, though he obviously held some (unknowingly incestuous) interest in Morgana, and his relationship with Merlin is bromantic, though Arthur finds casual physical affection between men far more difficult than Merlin does: he prefers a punch on the shoulder to a hug.

Though he is never exactly jolly, Arthur enjoys a laugh, usually with friends and at someone else's expense. He often smiles to convey many things; scoffing disbelief, sneering superiority, camaraderie, vicious acknowledgement of his own doom, bitterness and even joy. When hurt, Arthur retreats into himself and his persona and can become cruel, even cold, though when truly injured he is irritable, annoyed at his own weakness. Arthur also isn't afraid of yelling and he can cut an intimidating figure when something drives him into a rage. He's never obviously embarrassed, but awkward; glancing away and flushing about the neck. However Arthur is the type to take out his feelings in combat rather than discussion: like his father, he is a man of action, and expresses himself in the doing.

As the series progresses, Arthur is shown to be growing up. He can take others opinions on board and has learned to acknowledge when he is afraid but face his fears regardless, to acknowledge his mistakes and face their consequences as best he can, and his bullying is more friendly teasing than downright atrociousness. Though he's still prideful, he's aware that it's his weakness. He is beginning to understand and accept the diversity of Camelot, and the relationship of equality between a ruler and his people. It's obvious that he is growing rapidly towards being not just a good king and ruler, but a legendary one.

However Arthur's most important flaw is his own self-doubt. Even as king, he still lives in his father's shadow and requires his Uncle's advice. It is only in pulling the sword from the stone that Arthur gains some belief in himself and his future as a king of Camelot and Albion. But he still hurts deeply from the betrayal of first Morgana as she turns to sorcery, and then his Uncle, as well as Guinevere's betrayal of their first engagement with Lancelot. He cannot understand why they hate him, wonders if perhaps he needs to change his ways, and generally shows the dual capacity for self-examination and self-pity typical of insecurity. This has made him slightly more wary of trusting, though when he realizes the rarity of what they have he is eventually willing to give Guinevere a second chance.

Finally: Arthur enjoys cleanliness (as does Uther: Camelot is a strangely clean castle) and while not a "neat freak", is one of those people who dislikes mess and believes things have their proper places. He has no compunctions about killing in combat or self-defence, but will not strike an unarmed man. He is surprisingly good at subterfuge and sneaks out of the castle quite a few times. Though Merlin tends to be the one coming up with ideas, Arthur is good at strategy and plans well then leads others through it. He has an acute awareness of consequences. His favourite food is herb-encrusted capon. He's a Sagittarius.


Powers & Abilities: Arthur has no magical powers.

Battle Prowess. Arthur has been trained from a young age to be a Knight of Camelot, and he is acknowledged as the best among them, leading them in battle and drilling them daily. He fights in full chain and plate mail, can knock a man out with a blow to the back of the head, and throughout the series is seen skilfully wielding a sword, knife, crossbow, bow and arrow, mace, spear and lance, as well as training his knights, Merlin, and even a handful of commoners in the same.

He participates in tournaments including jousting and swordfights, and even before he became king, was expected to advise his father, King Uther, on battle strategy, invasion plans, and the daily arrangement of Camelot's guards. Arthur knows how to treat a wound in the field, and set traps for animals or men. He is equally comfortable fighting on horseback or in bad weather, and goes on hunting trips for meat or dangerous beasts practically every episode of the series, able to survive the rough conditions of travel and walk or ride long distances.

Court Education. Growing up as the Crown Prince of Camelot means Arthur has spent his entire life being trained in the pomp and ceremony that his station requires. He can read and write, is required to memorize speeches in a single morning, knows table etiquette, can hold his drink, and is quite used to making small talk with the Lords and Ladies of Camelot, as well as any visiting nobles, and remembering how to address them politely. He knows the rules, code and ceremony associated with knighthood, marriage, and funerals. He knows the laws of Camelot and how to decry justice. He is also used to dressing well and bathing regularly, unusual for his time period.

Land Management. While he himself cannot farm, Arthur knows the kingdom that will one day be his quite well. He is required to be aware of the harvest prospects, seasonal affects and natural disasters, grain tithe for the citizens and yearly tax rates. While he is no herbalist, on a few different occasions he recognizes and is able to use various plants. He has encountered several magical creatures, including a unicorn, a werebeast, a dragon, the Questing Beast, and a few unique to the Merlin canon. (He has also encountered the Sidhe/fae in Avalon, but doesn't remember it.) He can tell time by the sun, and use the night sky to get his bearings.

Items on their Person: Arthur is arriving in full chain-and-plate mail, including hauberk, vambrace, greaves, and gauntlets. This is worn over brown breeches and a thick undershirt (designed to reduce chafing) and he is wearing his red cloak embroidered with the golden dragon crest of Camelot, and sturdy knee-high leather boots. Arthur comes carrying his sword in its scabbard at his belt. He will also have a small gourd for water that can be strapped to his belt, a hunting knife in his boot, the engraved silver ring he wears near constantly on his thumb, and his dragon-tooth necklace.

Arthur Pendragon | BBC's Merlin | reserved | 2/2

[amber]

SAMPLES;
First Person Sample:
Er, is this — working?

[ Amateur film-making is always a little awkward to look at. Arthur is a blur of blond hair and armour in the feed, as he tries to get the camera fixed on his face, zoomed in to the right position — the buttons make his fingers feel huge and clumsy. ]

[ Eventually he settles for a little more than half of his face on the screen, frowning through to the other end, his eyes blue and pensive and far too old for his boyish face. ]

I need the use of a crossbow or spear. I’d be willing to trade for the rabbit I kill, or whatever other game is around, and water, of which I currently have at least two week’s supply. Or gold, if you want it.

[ He pauses, wondering what else to add. How to convince people he can’t see that he’s the best damn hunter in the city right now, and they should band behind him? Words have always come to Arthur when speaking to a crowd of men, noble and inspiring words, that made men hold up their swords and shout the name of he and his kingdom. But right now it’s just him and the unforgiving screen of the device, and no words come. He swallows, throat clicking. ]

The pamphlets talked about monsters. I thought I saw—

[ He breaks off, suddenly, looking off-screen, his head cocked as though he’d heard something the microphone hadn’t picked up. Then suddenly he’s scooping up the phone from wherever he’d propped it to speak, getting a nice close picture of his calloused palm. There’s the sound of his sword being drawn, and he forgets modesty, forgets awkwardness, just wants to wrap the one-sided conversation up. ]

If you want to work together, I’m your best chance at survival. Contact me privately to trade locations and negotiate the terms of our alliance.


Third Person Sample:
Arthur Pendragon is not from a world where long-distance communication is instantaneous. He is more used to the length of time a message takes — whether it’s sending a servant running three floors in order to tell the Court Physician that actually, his shoulder was starting to give him a bit of trouble, if he could make up some salve? Or all the way down to the lower town, to tell the blacksmith to get started on twenty new dragon-crested shields for the knights errant that had sworn to the service of Camelot after the latest tourney. Or a rider across the kingdom, out to the lords and their holdings, perhaps even over the border to treat with another kingdom all together. He had even once sent a message to the Roman Empire, mustering across the ocean, though the seasons turned three times before he received a response to his query.

So it is with some bemusement that he watches the small device go through its tutorial once more, trying to grasp just how effective the ability to “record” and “transmit” his voice would be when it came to combat strategy. Scouts could film an enemy encampment rather than risk the long trek back! Messages could be passed between leaders on the field and off as developments shifted the course of the battles. Treaties could be negotiated from separate locations, without the risk of ambush or treachery!

To be honest, the rest of the information has somewhat gone in one of Arthur’s ears and out the other. Fictional realities seem improbable. The walking dead even more-so. The possibility that he had been taken from his kingdom for good sends a strange sort of static through his brain, a blankness that he’d only ever felt before in the depths of a fight, a clean and emotionless feeling of pure purpose. It isn’t something he wants to examine too closely, so instead he spends his time toying with the simple device until he thinks he’s gotten the hang of it.

It’s not that he doesn’t believe what is right before his eyes. Arthur is smart beneath his temper, and though at first he’d raged around the room, the moment he’d walked out those doors it had become obvious that this wasn’t the kidnap plan of some rival kingdom. Madness or sorcery seem viable explanations, of course, but Arthur flinches away from those as well. Sorcery is too far outside his control — his father’s dying face imprinted on his eyelids reinforcing the belief that magic is unquestionably evil — and madness, madness, oh. That has run in his family too long to be a comforting thought.

Mad people don’t wonder if they’re mad, he tries to reassure himself. It doesn’t work.

Without anyone to attack, he feels aimless in this ruined village, where every way he turns there seems to be something he doesn’t understand. A large part of Arthur’s heart is still grieving, but the cheerful brown parchment reminded him to eat and drink, and his survival instinct had kicked in. Food. Water. Shelter. Information. Those would be his saviours. The last would help him find the first.

It is for this reason Arthur swallows his wonder and pride, and turns the “phone” device to record.


Additional Information:

Mihael "Mello" Kheel | Death Note | Reserved

[chocogun]

OOC Info;
Name: Juu
Age: 23
Ways to contact: vilaniraffle@gmail, chocogun@aim, vilani@plurk
Characters currently played: N/A

Character Info;
Character Name: Mihael "Mello" Kheel
Canon: Death Note
Canon Link: Here
Canon Point: Post-death
Character Age: 20
Character Suitability: N/A

Personality:
Mello's personality is rather complicated since during the anime/manga we mostly only saw the craziest, the meanest and the angriest side of him, and only at the end we got some humanity coming from him. For this, I consider he may not be a sweet character most of the time, but he isn't ultimately cold and evil.

As for hobbies, he is known to love chocolate (especially when he is plotting), and has a really cool motorbike. Mello is also seen wearing black clothes and a crucifix, and he was the second best at Wammy's House - an orphanage for gifted children. As a child he seemed to be a bully, and even since then he had shown traits of this in his adult angry and spiteful character. Also, it's easy to now admit that towards others, the blond is arrogant and above all, he acts with a superiority that he doesn't have. In fact, he has a very strong inferiority complex that is the explanation to his reactions most of the time: the need to prove himself, the fact that he knows that alone he cannot be the best; he takes extreme actions to overcome this, enough to enter the world of Mafia in order to obtain what he wants. Based on just his qualities, Mello knows himself that he cannot become the top, so he uses anyone at his reach to make it happen.

Even if Mello has superior intelligence, it doesn't make him the most intelligent person (at least not towards Near, L or even Light, for example.), but the fact is, he doesn't use his most (and probably only) important ability in depth. Actually, he ruins himself a bit for this, for being a very emotional and rash person towards everything and maybe everyone; he acts on his whim a lot without really thinking through on what he should do next, only aiming for the objective and not caring about the path he has to follow or the consequences it might bring. This makes him very unpredictable and actually dangerous not only to others but also himself in a way, that would culminate with his death.

But let's not fall only into critic, because in a way, this can be good. The fact is, since he doesn't choose nor thinks his tactics over, his strategy is based on quick though and fast action, which actually works well for him most of the time; as I said, he has luck. He doesn't have the need to stop and analyze, he actually only takes a small glance and reacts in response to that. No kindness in his speech, no backing down, Mello not only isn't reserved towards his actions, but also towards everything else, speaking out his mind whenever he can - still, when he has a moment to rest, he might actually take precautions to his behavior. With this unstable personality and quick judgment, Mello also makes various connections (aka, the Mafia) and friends along the way, which really help him in his goals (aka, Lidner and Matt).

Possessing an explosive, spontaneous, and even hot-blooded personality, being unpredictable and rash, Mello isn't as easy to read as it’d look like to someone observing. He has a lot of insecurities and doubts, but still his mind doesn’t allow him to stop and think about them; he has the aggravating tendency to turn everything all on its head, and this provides him a mask painted with self-confidence and narcissism, characteristic only to him.

He refuses to be looked down, accepting any challenge and planning on wining always, it seems Mello loves the capture almost as much as the chase, giving him a sort of sadistic pleasure in every move he makes. Since he doesn’t take any defeat easily, he is indeed a sore loser, expecting only the best from him and his actions. If that doesn’t happen, he deserves what goes wrong, like the scar he got from the explosion and that never seemed to bother him at all; yet, if we think about it, the scar is proof that Mello lost, and probably IS a thorn in that pride of his (he hides the scar with his hair most of the time. Or tries to).

Mello jumps from a plan to another as quick as his minds sets; he is almost impossible to follow but still, it’s not viable for him to take all the weight all his choices bring. Wanting to rule the world by taking it with his anger and unpredictable authority and not settling for anything less than that, it becomes difficult to be able to handle everything as he tries to. Still, he’ll keep on taking that risk because he is willing to do what no one else will.

Proud and narcissist, he doesn't look like he needs help, even if that brings him problems later on - which did and made him reach for Matt's and Lidner's help. If he actually came to them, if he waited for their contact, it's unknown, but towards these two Mello has shown a far more intimate comprehension (and patience) than the rest of the Mafia members, for example, which leads us to believe the blond though of them to be more than mere pawns. He is shown not be caring for the others, to an extent of wanting to eliminate anyone in his path, but later on we see that the boy has actual human feelings when Matt dies - and apologizes.

In the novel he considers himself a challenger and not a criminal, like he described B.B. Even if Mello’s actions during the anime would bring him quite the criminal record, those same actions were nothing but a recurrence of Kira’s actions. For the fact that he considered B.B. a criminal for killing several innocent people only to step over L, yet not himself, we can assume Mello saw his actions as a necessity, just like L saw his actions towards Misa’s freedom during the anime.
Mello’s strength is his ability to think beyond the restraints of the law with his concepts and his actions. Especially moral laws that L once defended; he doesn’t consider himself someone bad, he considers himself as someone who managed to reach somewhere near L’s place by using other methods: a challenger.

Even though it is said that he falls behind in some aspects, as one who possesses great intelligence, Mello’s actions can bet threatening to anyone. Not only mind, though; he is seen with a weapon, never actually using it, but showing comfort when holding it. It’s easy to admit that experiences throughout his life have given Mello the capability of handling weapons like guns and explosives. Unfortunately, Mello's abilities don't reach physical strength; he is thin, and he actually looks frail, even if he can take huge amounts of pain (burnt skin isn’t as fun as we think).

Between all this, there is also to remember that he can actual calm down. No matter how rash, crazy, emotional he shows to be, after the explosion that ate half of his face, Mello stood in the shadows, listening quiet to what was going on, even if he still acted. This brought him to then finally allow us to see more kindness on his side, by allowing his ultimate rival - Near - his help, and giving his own life so the other could win the fight against Kira. Maybe others can say it wasn't care, but Mello never really fought in name of justice, and right then he gave his glory to Near for no actual reason given - either to avenge L, either to help Near, either because he was tired, either to stop it all, if it wasn't for the blond, never would have Near won.

I'd like to point a special note about the fact that when Near gave him his childhood photo, written on its back was "Dear Mello", and that shown us it's not only hatred that connected both. While no one points a gun and almost shoots to someone they care for deeply, no one would also kill themselves to save the life of that same person. Their feelings were so strong that mixed hate, love, friendship and disgust. Truthfully, Wammy's children never seem able to know how to react towards emotions: L considered Light - the person who wanted to kill him - his best friend; Near showed no emotions at all, and Mello showed just too many. Feelings of care are perhaps something they can't deal well with, so the heirs - Mello and Near, not L - actually seem to avoid it (Mello did spend sometime with the mafia and felt no regret or pity when he saw them dying; even towards Halle, Mello pointed a gun at her and threatened her, even if she was probably one of his only two allies).

To add, the only person he actually praised and showed obvious care about was L, during the novel, so much he even adds “this is the single most valuable memory I have”. Probably adoration, probably love, Mello admits L as better and for someone like him, that means a lot. His emotional reaction towards L’s death was probably suppressed by the need to be better and to be his heir, but he reacted enough to almost jump on Roger and remind him how L had promised he’d catch Kira and return. That was probably his childish side showing for one last time until he realized that he had to grow that moment, and perhaps he did force that to happen.

Better yet, Mello admits how chasing L was like chasing a mirage; no one ever knew what was going on L’s head, and Mello, even if he met his mentor few times, also knew how difficult it’d be to ever be close to him in matters of mind, perception, position, power, strength, justice, and everything else. He did not want to surpass L, he knew he couldn’t surpass him; Mello just wanted to be someone who’d be worth mentioning when someone brought L’s name, he just wanted to be his successor, his backup.

From the novel as well, Mello mentions his respect towards B.B. since their positions were perhaps similar in some sort of way. The blond even says how he can understand why someone would become a criminal in order to fight against a detective like L, which is why he wrote those notes like that, with so much respect towards B.B. Mello explains to us B.B.’s situations with certain value. He explains how he was affected, his actions, and Mello explains with no signs of anger or being against his actions, everything the criminal did. Indeed, Mello sees himself on Beyond Birthday to certain extend.

Personally I keep Mello as lucid as possible without cursing around for any reason at all; he does curse, a lot, but only due to right timing. Mello has a sharp tongue, he’d rather use that than of going around cursing at people; I took him like this because during the anime and during the novel, Mello not only doesn’t curse, but if he wants to offend someone he prefers to use a sharp comment about the situation. I believe he does curse, a lot, but he will make you feel wrong about your opinions your actions first, especially if he sees them as an easily avoided mistake. Mello isn’t forgiving on other people’s mistakes, he tends to point them out, like the narcissistic genius he is. This trait can be seen through the novel, as he gives his opinions about certain moments, especially about Misora who was the only who was not a genius.

Inspired on the book, I managed to grasp few other details about Mello’s personality. While it’s not a source written by the original author, it IS considered canon, so I took it in account.
While Mello keeps his snarky comments on Misora’s actions, he showed some respect towards her personal life. Not only he didn’t care, but he also added it was respect for her being the one to be manipulated and played by B.B, and therefore he was reluctant to do so. He can be respectful, more than he shows. Mello doesn’t mention something private it unless it’s extremely necessary; it is perhaps true that maybe he simply does not give a damn about what you’ve done, but we can’t leave aside that even if he knows the details, he will most likely keep them to himself, even if asked.


Powers & Abilities:
Mello has no supernatural abilities, except his high IQ that can't be considered a magical ability and barely is considered a strength, if we think about it - it greatly depends on how Mello uses his intelligence. Probably this gives him the capability to rationalize fast or/and maybe act fast as well; good strategies (which doesn't stop them from being somewhat mad and even cruel due to the fact he doesn't care about who dies, as long everything goes as planned).

Even so, most genius seem to have quite the photographic memory and by the looks of it (since he was taught to do so for he's L's heir), Mello can vomit facts he read from books and cases, he can assimilate information just as good and retain said information in his brain for a long time. This said, it's necessary to remember Mello read a lot when he was a child and had detective training back in Wammy's House; he most likely had contact with information about drugs, anatomy, diseases, guns, and other related topics.

Perhaps even his personality can be considered a special ability, but let's admit it, part of his actions are based on mere hints, the ability of acting fast, and the rest is kind of... luck (no, bad Mello, bad! No jumping into explosions to save your ass). Even if he doesn't have the strength, because most likely Mello knows anatomy, he also knows soft spots on human body that will allow him to overpower someone he fights with (at least for few seconds, enough to escape). Speaking of which, Mello seems quite fast.

And because he lacks actual body strength, he is seen with a weapon, a 9mm Beretta V92F Jackal gun. He shows no fear when holding his gun, and I believe it makes up for the fact that Mello's abilities don't reach physical strength..


Items on their Person:
Rosary, clothing (gloves, leather pants, leather top, shiny black shoes, leather jacket), chocolate, gun (and bullets).

Mihael "Mello" Kheel | Death Note | Reserved

[chocogun]

Samples;
First Person Sample:
[Mello thought about using text since he is far too paranoid to allow others to see his face or recognize his voice. Yet, due to the situation he is currently in, he has no other choice but to use Voice, in hopes he’d find an ally (or an enemy). He puts the device down as he speaks]

I’m not going to bother to repeat what everyone else is saying. It gets boring, after a while. [he is angry too, though. It’s obvious by the tone of voice.] And there are other things to worry about right now, than to listen to all of you bitching because someone brought you here and called you fictional. So do all of us a favor and think beyond the box.

We are outnumbered. [there is a sound; if anyone is used to guns will understand that Mello is loading his weapon] And if we want to stay alive and not turn into one of them like it happens in zombie clichés, we are better off working together. [he has a gun, but he knows he is doesn’t have the advantage and bullets aren’t infinite. He can’t live through this alone, as much as he’d like to believe so]

So let’s do a roll call. Who is civilian and who is military or has any sort of advantage when it comes to fight these things? Any special skills or medical experience? Who has means to defend themselves and who doesn’t? [he doesn’t plan on saving anyone, but he knows this will eventually lead to that] Who is in deep shit right now and needs to get their asses saved asap?


Third Person Sample
It’s an inexplicable sensation to wake up after feeling your heart stopping and you understood you were going to die. Death Note makes no mistakes, and when Mello felt that sharp pain on his chest he understood that he was going to die and nothing would stop it from happening. Or shouldn’t be, as far as any of those who used it knew. So, when he opened his blue eyes and noticed that he was still there, breathing, thinking and with a pulse, Mello couldn’t even begin to explain what went through his head. It was just too much, too many questions and too fast. And sure the blond couldn’t even begin building a proper path of questions, because what came after this made it even more agonizing.

Japanese cartoon character, a Japanese comic book character. There was a novel, even, and there were soundtracks, toys, statues, DVD’s, movies, there were even plushes and magazines, household items, and even pillows. There were websites and all sort of creepy (really creepy) details, fan comics and fan fiction. All of this about his life. Not just his life but everyone that was connected to Kira case.

Mello’s first thought was that someone had been spying on him. Actually, that was a very plausible thing to think; if they could resurrect him, perhaps they also had the technology that would allow them to spy on people and learn everything they wanted about a person. It was far-fetched, but nothing in this situation was normal and even a strange explanation could be a good one.

But what was the reason to do this? Why to go to this extend? Maybe they wanted to mess with his mind? He was already freaked out the moment he woke up alive. And not knowing what happened to Kira after his death would have been the most messed up thing anyone could ever do to him. It was something else. Mello still denied that he was fictional – hell, he was there, he lived a life and he remembered all of it, and parts of that life were missing in the books and the cartoon; not to mention they are drawings, it’s not even him – but there had to be a reason why.

The man didn’t indulge his brain any longer; enough with questioning and analyzing, Mello had to get his ass out of there now. Grabbing the things they left him – how thoughtful of them, he thought with sarcasm – including the water and the crackers (why would they leave resurrect him if they were going to poison him again, he figured), he walked to the door as he readied his gun.

Survival of the fittest. And he’d show whoever put him in this shitty place that he could and was going to survive.

Additional Information: N/A

Sherlock Holmes } Sherlock (BBC) } reserved

[speculates]

Name: Nadya
Age: 18
Ways to contact: lexi_ ⎨ kaminari31@yahoo.com
Characters currently played: N/A

Character Info;
Character Name: Sherlock Holmes
Canon: Sherlock (BBC)
Canon Link:
❪ Sherlock (BBC) ❫ ❪ Sherlock Holmes, consulting detective ❫ ❪ The Reichenbach Fall ❫
Canon Point: After the Reichenbach Fall, (S2x03), where he is standing in the graveyard watching John.
Character Age: 30-33 (Early thirties, though not stated within the canon)
Character Suitability:

personality + abilities

[speculates]

Personality:

"Don't make people into heroes, John: heroes don't exist, and if they did I wouldn't be one of them."

BBC's Sherlock is a modern adaptation to the original, Sir Arthur Conan Doyle's Sherlock Holmes, and as such, there are quite a bit of similarities between the original and the adapted Sherlocks, except approached through a more modern perspective (for example, like the nicotine patches instead of the pipe, texting instead of telegrams, taxi cabs instead of carriages, and on). 

Sherlock Holmes is crude, erratic, arrogant and cold. At least, on the surface. Which is usually all that he really shows and due to his behaviour around others, all anyone cares to see. He is a man who really doesn't appear to be in tune with emotional aspects of a case, or event, or interaction. In the first episode, "A study in pink", quite early on, we see Sherlock be called a psychopath. I think the fact that Sherlock himself corrects Anderson ("I'm not a psychopath, Anderson. I am a high-functioning sociopath. Do your research") speaks volumes about him. First, not only does he acknowledge the fact that he has antisocial tendencies, that he isn't exactly normal by societal standards, but it's also clear that he doesn't care.  He does not care how others perceive him, a fact which is apparent in several cases throughout the two seasons. In fact, his flat mate John Watson seems to care more about Sherlock's reputation than the consulting detective himself.

But this brings us to the next point. Sherlock Holmes is unbelievably antisocial.  Which is to be expected, seeing as modern day, sociopathy is closely related to ASPD (Antisocial Personality Disorder). There are probably other medical terms to perhaps label Sherlock with, though without getting a scan of that brain, it's honestly difficult to say for sure. 
My point stands. He doesn't seek interactions with others. He acknowledges the fact that most people are deeply unsettled by him ("who'd want me as their flat mate?") due to his blatant and tactless announcements.

Sherlock Holmes, all social discrepancies aside, is truly brilliant. His mind is always working, and he is one who is driven by challenge, by the puzzle, and the harder the puzzle, the more pushed he would be to solve it; so much so that he will not stop until he finds a solution. 
 He has a clear pattern of deduction that he follows when he looks at someone. He doesn't simply see them; he observes and from his observations, can sum up facts most people would never be able to see. He observes, notes the smallest details, gets the facts and draws the conclusions. He eliminates the impossible and  then "whatever is left no matter how improbable must be truth". 

But with such a mind, he needs to keep it occupied. But with his brilliance comes arrogance, and the thought that the rest of society is all quite boring. Most cases that come to him become obvious even before the potential client finishes their first sentence; he needs to be challenged; it has to be interesting, there has to be no obvious solution at first. But this doesn't happen often, and as such, Sherlock is prone to extreme cases of boredom. As said by his Robert Downey Jr.-played counterpart, his "mind rebels at stagnation". But with this said, he isn't the one trying to go out there and find the cases- everything must come to him. Otherwise he sits in the flat in nothing but his pajamas, shooting a gun at a smiley face on his wall. Literally. And then there are his experiments -- they're quite unique, and a bit odd, and at times, destructive to the kitchen, appliances, or flat. Sometimes, he will not speak for days on end, and sometimes, he picks up the violin to play (quite the good) tune. But the main point is -- if he doesn't have anything interesting to occupy himself with, he will become reclusive. Perhaps a bit manic. 

He also refers to his mind as a hard drive, from which he just "deletes" the information he doesn't consider useful. He has learned it once, yes, like the fact that the earth revolves around the sun, but seeing this information as completely useless to what he does, he has completely forgotten about that fact. It was John who informed him of it again, after which Sherlock explained that that was extraneous knowledge. He doesn't concern himself with trivia. 
He arranges the information he acquires in an odd, particular way, and when the situation calls for it, he delves into his "Mind Palace", a place where, theoretically, you can store all the details you once saw, and through a chain of facts, if you find your way back to this 'palace' (or any location you may chose), you can remember everything. 
With that, Sherlock Holmes has a very good memory, as well as a very good attention span to details. Even if he doesn't seem like he is listening to what someone is saying, or acts like he doesn't care, all the information is observed, and if the need be, will be recalled. 

The thing about him is that he knows he's brilliant. His mind operates much faster than an average person's and thus, he often has to dumb things down, explain the step by step of his train of thought. And that's where his arrogance and pride comes in. He is proud, and he does have something of a loaded god complex. He knows he's smarter than the majority of the population, though he doesn't always make a point of declaring himself smarter than everyone else in the room. However, he will berate and belittle someone who fails to see his line of reasoning. It's simply how he works; he is easily annoyed by those of lesser IQ (like, Anderson, for example), and if that's the case, they will be the target of more insulting truth. His arrogance also comes out when he is dealing, or rather, consulting, the police on a case. He will almost admonish the inspectors for not seeing some simple and obvious fact, and he can allow himself much more blatant, and perhaps rude comments, simply because he knows the police need his help.
Sherlock is used to being right. Used to making the right conclusions, and drawing out the truth. So it's not often that he experiences doubt, let alone the doubt of his own abilities. But that said, he is extremely grounded -- in that, everything has a scientific explanation; there are no miracles. When he does experience doubt, when there is that conflicting mix of emotion, he doesn't know what to do with it. He doesn't know what it means, and as such, his behavior will be a bit erratic, and even unpredictable.

Emotionally, Sherlock Holmes is a very difficult person to understand, let alone be around. He feels an almost limited range of emotion himself: excitement, adrenaline, pleasure, pain (which he will most likely disregard). Every other emotion, like love, he knows of, understands, but in medical terms, in chemical reactions that happen in the brain and body. It's purely scientific to him. He views sentimentality, caring as an unnecessary concept that will only serve to get in the way of finding the solution, rather than helping. So he doesn't care. Not exactly, not usually. On numerous occasions, he was told he doesn't have a heart. But his humanity comes out when John is strapped to an explosive. This situation shows several things: that it takes quite a bit to actually push Sherlock to show emotion on some level, and that, again, when pushed, Sherlock is fiercely loyal.
The thing is, he doesn't have friends, "he's only got one". John. And I think at first, he had John figured out like an open book - an ex-soldier with PTSD with a shabby relationship with his sister - just a normal and boring roommate. But when John shot a serial killer through two windows and a far distance, it was at that point when Sherlock realized that perhaps he had underestimated John. Somehow, he warmed up to him. As much as someone like Sherlock Holmes could, anyway.

Emotional understanding, and understanding the fact that everyone else operates on sentimentality more than he does, it makes Holmes a bit manipulative. He knows what to play on and when, if only to get the desired reaction; he isn't afraid to push people to their limit and will have no qualms or remorse about doing so. "His depravity knows no bounds".
He is also completely tactless; he will say what he sees, or blatantly ask about a certain event in a person's life after only speaking with them for mere minutes. He will act excited at a gruesome crime scene simply because the case finally got interesting, or that there was a twist in the great puzzle.

Next: Sherlock has an addictive personality. In his past, he is known to have smoked, and to have used addictive drugs that somehow have stimulated his thought process, or simply, because he is bored. Or because he enjoys the particular high.
But I'm guessing in the past, he was a pretty heavy user, considering that both his brother and John have to watch him if he wants a cigarette- its his 'danger days', and mean that something is severely bothering him; either the case, or the need to understand something (or someone, like moriarty, and their plans).

Whatever personal ties Sherlock has with people, they are always complex. He has known Lestrade for over five years, yet the DI claims that John knows Sherlock better than him. John Watson is Sherlock Holmes' one very true friend. Lestrade is, after everything, a friend also, as seen when he calls John to warn them that the police were coming for Holmes. And Lestrade was one of the people threatened by Moriarty if Sherlock didn't jump. Last on the list is Mrs Hudson. Their relationship is an odd one to interpret as well -- it's almost like a mother-son relationship, if you squint. What is unquestionable is the fact that Sherlock respects the older woman. She deals with him, with the severed heads in the fridge, and the fingers; she is a strong lady and over the course of the two knowing each other, it's evident that Sherlock has that respect, and loyalty to her. Thats the thing. No, he doesn't have a lot of friends. He only truly sees John as one. But the few people he does have, he is, ultimately, fiercely loyal to. Said loyalty isn't always clear. It's usually subtext, well hidden, and only comes out in dire situations. But it's there, and serves as a reminder that Sherlock is, indeed, purely human.

Sherlock's family, and past, are all quite vague. He has an older brother, Mycroft. And the two are at odds with each other constantly, though Sherlock does acknowledge the fact that out the two of them, Mycroft has the stronger mind. He has a lot of potential, Sherlock claims, if he only didn't succumb so much to laziness. That said, his older brother is very protective of Sherlock, so much so that he constantly bothers and takes John to discrete locations to ensure that there is someone looking out for Sherlock. Though Sherlock does screw things up for big brother at one point, big brother screws things up for Sherlock too, and in the end, plays a major role in having Sherlock jump of a building. Indirect role, of course, but a role none the less. He simply feeds Moriarty Sherlock's personal details for exchange of some government sensitive information. Moriarty then uses that against Sherlock.

So, Sherlock Holmes. A brilliant mind, and a tactless, arrogant and crude man. His 'soft side' is somewhat hard to see, even when it does come out, it comes out at a kind of backwards way. At times, he's reckless and unpredictable. He can see right through people, whilst people typically can't see through him. He is used to unsettling people by his statements, simply because that that's the reaction he is used to seeing. He himself, however, is not easily unsettled. Though, push the right buttons, and you will see that he can have quite a temper. He doesn't really have bounds, and isn't easily intimidated. In fact, it's actually quite hard to even try and intimidate him, because while someone may be stronger than him, he has already figured everything out about that person, and will gladly announce all their secrets. He doesn't have much of a filter, and doesn't really understand the definition of tact. At least, not in practice. His behavior sometimes borders on the slightly manic, erratic. He can be loyal, and he DOES care, though it might not always be evident.

There are a lot of things that make up the man Sherlock Holmes. Most importantly, after all the things said, he is an enigma.


Powers & Abilities:
Sherlock Holmes is a hundred percent human. He can be injured, bleed and die like the rest of them. So in that respect, he doesn't have any supernatural powers or abilities. That said, he has a few things up his sleeve.

First, it's his intelligence. He has a brilliant mind; he is a quick thinker, able to determine say, a password in under ten seconds, or weed out a weakness in a plan, or see a lie. He pays attention, and his mind, his process of deductions turns what he observes into facts; facts that are usually right. He was able to tell some major aspects, and even details, of John's life after a single glance at him, hearing him speak, and holding his phone in his hands to text. That's all it took and Sherlock was able to say that he was an ex-soldier with a pat injury and PTSD, his sibling was an alcoholic (though he thought brother, not sister), and that the phone was a present from said sibling, and that said sibling was going through a divorce; that John didn't like asking or accepting help, and that the reason why John was there in the first place was because he was interested in finding a flat mate. And this Sherlock and do to most anyone he meets, with only a very, very few exceptions.
People are simly open books to him, and the devil is always in the details. It's the little things that reveal the truth.

Next, Sherlock is also quite the actor. He can cry on command, can turn emotional, can fake being afraid, fake his identity; he can put on a believable disguise, pretend knowing someone for an entire lifetime.

He has a refined memory. He remembers maps from a single glance, is able to reconstruct events down to the smallest note. He is also resourceful, using the homeless as his eyes and ears? He can speak several languages, including French, German, and Latin.

He is also a skilled fighter and a good shot. He can defend himself well, and despite in the past being a smoker, he has notable stamina and endurance. He can and will scale a building or jump from rooftop to rooftop if on a case. He can sprint very well, and is good at improvisation. He sees an opportunity, and he will take it. He isn't above fighting dirty, and in fact, he will. That said, he has gotten himself beat up on few occasions, so this isn't saying that he is so skilled at combat tht he won't get hurt. He's good, yes. But not master-assassin-good.

[regal_azure]

OOC Info;
Name: Hannah
Age: 24
Ways to contact: email: howlinmad88@gmail.com, AIM: viridianwings, Plurk: viridianwings
Characters currently played: N/A

Character Info;
Character Name: Vivi Nefertari
Canon: One Piece
Canon Link: http://onepiece.wikia.com/wiki/Vivi
Canon Point: Around chapter 641
Character Age: 18

[regal_azure]

Personality: Vivi is, perhaps, one of the kindest, gentlest souls you are ever likely to come across. She always puts the welfare of anyone and everyone she comes across above her own, and isn't afraid to speak out against cruelty. This stems in part from her upbringing as Princess of Arabasta; her father has always tried to do what is best for his subjects and Vivi has learned from him that the most important part of being a good monarch is ensuring the welfare of all the citizens, rather than just the elite few. She spent quite a bit of her childhood as vice-president of the 'Suna Suna Clan', which enabled her to experience a normal childhood playing with other children, as well as learning the importance of friends and solidarity. Her childhood friend, Kohza, eventually became leader of the revolutionaries in the war that nearly destroyed Arabasta, but Vivi still tried to see the best in him, knowing that he was fighting for what was right, even if it turned him against herself and her father. She is very close with her father, King Cobra, and cares about his welfare immensely. Vivi's mother, Queen Titi, died when Vivi was very young, and she has very few memories of her. One of her fondest wishes is to have been able to have a relationship with her mother.

Vivi's biggest downfall is her reluctance to share what she perceives to be her responsibilities, especially towards other people. While she is touched and grateful when anyone goes out of their way for her, she also feels a little uncomfortable, as if she is inconveniencing them, or is a burden to them. On the other hand, she would never think twice about going out of her way for anyone else, even if it means giving up her own life. She would prefer to shoulder the entire burden herself rather than see someone she cares about in pain.

In order to save her country, Vivi went undercover among the ranks of the man trying to destroy it, Crocodile. She toughened up during this time and learned valuable fighting skills, but still prefers not to fight unless she cannot avoid it. She is quite touchy about the time she spent in the Baroque Works organization, and it brings back to her painful memories of having to do things that she knew were wrong in the short term, to help her nation survive in the long term.

Vivi comes across as serene, but she can be quick to anger if she sees someone being treated badly, whether she knows them or not. Vivi is not quick to panic, but seems to let little things build up until she breaks under the weight of them: when this happens, she can be a wreck for quite a while.

Being a princess, Vivi is very cultured and sophisticated, and maintains an air of politeness at all times. Despite all of this, she is somewhat of a tomboy, and would very much prefer to be off on an adventure than stuck in the palace having her actions dictated for her. Vivi can be quite naive; this especially shows through in her interactions with others, whether it is her continual politeness, her automatic believal of Usopp's bragging, her absolute sincerity, and her foolish belief that if she tries her hardest then no one else will get hurt.

There is little information about what Vivi has been doing since the Straw Hats left Arabasta, so here is my own interpretation of what has been happening to her:

- She has devoted a lot of time to oversee the rebuilding of Arabasta. She has had an uneasy relationship with the Marines stationed around Arabasta, in that on the one hand she feels uncomfortable helping the World Government when Luffy has made such an enemy of them, but at the same time other pirate crews are passing through Arabasta on their way through the Grand Line, and they have needed the Marines' help to fend them off.

- She has heard all about Enies Lobby in the newspapers, and feels that the World Government isn't telling the whole truth about what happened there. She is quite upset and confused that Luffy has accepted her enemy, Nico Robin, as nakama.

- Vivi has continued with her education, especially in royal/political matters, which she missed a lot of when she was in Baroque Works (I interpret her having been away from Arabasta in Baroque Works for about 2 years, from when she was 14 to 16). She has not had much time to practise her fighting, and has managed to stay at about the same level as she was, but grow no stronger physically.

Strengths:

+ Skilled in diplomacy
+ Trained as a child in all a princess should know: history, politics, etiquette, art, music (she plays the piano and flute)
+ A skilled sailor (a necessary skill on the Grand Line)
+ Skilled in fighting, especially at long range
+ Has great determination and resolve
+ Will go out of her way to protect those she considers friends
+ Has a great amount of patience
+ Good at sneaking around and spying, as shown by her undercover work in Baroque Works
+ Friendly, and very open minded

Weaknesses:

- Not very physically strong; in a fist-fight she would be easily overpowered
- Not very good at sharing her burdens
- Prone to panic in a crisis
- Very good at holding a grudge
- Can be gullible and naive


Powers & Abilities: Vivi does not have any special powers


Items on their Person:I would like Vivi to have the weapon she uses, her kujakki slashers.

kyouko sakura | puella magi madoka magica | reserved | 1/???

[prayer]

OOC Info;
Name: Miki
Age: 19 (11-06-92)
Ways to contact: email: cakejokes@gmail.com | AIM: cakejokes | plurk: neurons
Characters currently played: N/A

Character Info;
Character Name: Kyouko Sakura
Canon: Puella Magi Madoka Magica
Canon Link: wiki entry on the series in general | kyouko's wiki page
Canon Point: episode nine, before contacting Madoka to tell her about her plan to try and bring Sayaka back.
Character Age: ~15

kyouko sakura | puella magi madoka magica | reserved | 2/???

[prayer]

Personality:

Isn't it obvious? All I have to do is beat the crap out of her.

When first introduced to Kyouko, we see a very selfish girl -- and she is. Because they don't produce grief seeds, she stops Sayaka from destroying the familiar (a magical being that will eventually evolve into a witch) she had been pursuing in the alleyway. If killing it serves no benefit to her, why bother? We also see her sadistic side very early on: she explains to Sayaka that -- like other organisms -- there is a food chain when it comes to being a magical girl. "The witches eat the weak humans. And we eat those witches." In a later episode, confronting Sayaka outside of Kyousuke's home, she suggests that Sayaka should use her magic to cripple him so that he has no choice but to rely on her. When Sayaka begins to grow furious, Kyouko offers to do the deed herself. She sounds pretty unlikable at this point, right? But - of course - there is more than meets the eye. Kyouko's selfishness comes with good reason.

The thing I wished for destroyed my whole family. I brought all this suffering down on my family 'cause I made a wish for my dad without knowing what he really wanted.

Born into a religious family, Kyouko lived with her mother, her younger sister - Momo - and her father, who was a preacher. Her father was a very kind man, who Kyouko says would cry while reading the newspaper because of the state of the world was in. Believing things needed to change, he began to preach ideas that strayed from the church's accepted and recognized teachings. The churchgoers did not support his methods and eventually stopped attending her father's sermons. He was excommunicated from the church, and Kyouko's family sank to rock bottom. With no one to believe in him besides his family, there was no way for him to support them; they lost their home and weren't able to have any of the bear necessities, like food. Kyouko, distressed that no one would give her father the time of day, was unable to accept their situation. After being contacted by Kyubey, she wished for everyone to listen to and believe in her father's words, thus becoming a magical girl. Things immediately started to look up. The day after, people from all over flocked to her father's church in unbelievable amounts. While her father shared the word of God he believed in, Kyouko fought witches on the sidelines, proud of herself and what she was now able to do. However, the happiness her family found didn't last long. Eventually her father found out the real reason for the sudden influx of followers and quickly descended into madness. He called Kyouko a "deceiving witch" and started drinking excessively, his breakdown leading him to murder his family and his own suicide. Only Kyouko survived. This event changes Kyouko drastically. By the time Kyouko appears in the anime, she has already been a magical girl for ~2 years. Since then, she's subconsciously abandoned her old powers for the new magic she's learned. Selfish as she may be, this is evidence that she can feel guilt. It's easy to make the connection that she's ignored her wish-given powers because they are ultimately what caused the death of her entire family.

You don't get it when I explain it, and trying to beat some sense into you ain't really working. Guess my only option is to kill you!

Kyouko is quick to jump to violence in situations, especially in those where she deems people unable to listen to her reasoning as idiots and decides that there is no other way to get through to them. This doesn't seem to bother her much; when Kyouko fights, she does it with a grin on her face. She shows no qualms about killing Sayaka whatsoever. With Mami dead, she considers Mitakihara territory her own, and the only thing that stops her from her goal is Homura. The way she fights can also be linked back to the sadistic side she sometimes shows. She'll egg people on (as she does in the earlier episodes with Sayaka) to get them wound up enough to fight, and once challenged, Kyouko does not like to be interrupted or have things cut short.

If I see you wasting food like that again, I will kill you.

Being a person who does a lot of things on her own, Kyouko is a bit socially inept. Whether she does it to protect herself or not, Kyouko does not attempt to form any bonds with the other girls and refers to them only as "you" (in Japanese she uses the word "anta" instead of "anata" or "kimi." "anta" which is an impolite way of referring to someone in Japan.) and doesn't hesitate to throw swear words and insults around. It isn't until she connects with Sayaka that she calls her by name, the only other one to be formally addressed by her being Mami. On the other hand, if she approaches someone looking for a truce or a friendship or to be comrades in arms, Kyouko will "seal the deal" with an offering of whatever food she might be eating at the time. Because of how long her family went without it, Kyouko treasures food as if it were gold. If someone wastes food in front of her, such as Sayaka did in the church, she impulsively reacts and will not hesitate to "punish" them, from a punch or even strangling someone. Giving away her food to someone else - no matter how much she has - is a big deal.

Stories where love and courage win out in the end always turn out like that, you know?

While we see a lot of her selfish and mean-spirited attitude, Kyouko doesn't lack the ability to sympathize or care about people other than herself. Once recognizing that Sayaka is walking on the same type of path she had before everything fell apart, she starts to look out for her. She sees herself in Sayaka and thus wants to prevent her from getting hurt whether it be mentally or emotionally, even when she denies Kyouko's request for her to change her ways. Kyouko shows up numerous times to try and protect Sayaka; while fighting Elsa Maria, when Homura attempts to kill Sayaka before she meets her inevitable fate, searching for her until she finds her in the train station and retrieving her body from Oktavia's lair until she is able to find a solution to (what ends up being) her short-lived quest. Like Sayaka, Kyouko was very much an idealist. She believed in fairy tale endings, the kind where justice prevails and the good guys end up happy while the baddies get stomped on. After her family falls to shambles, Kyouko's idealistic views crumble and slip through her fingers and she makes the choice to use magic only for herself. Sayaka, however, was able to reawaken her to the feelings she once felt, and that's part of what drives Kyouko to try and save her.

As long as you protect the one you want, to protect them to the very end is enough. And here I thought that's what I was doing until now...

Warding off Oktavia's attacks, she recalls her first meeting with Sayaka and how they've acted around each other since. She reveals that she admires Sayaka's stubbornness in a way; no matter how much Kyouko would beat her up or call her things like naive, Sayaka would stand right back up again. Kyouko had once been like that too: a person who believed in stories where loved and courage prevailed with a fairy tale ending. She tells her that she understands her anger but wants her to wake up and use her powers like she wanted to. Finally understanding and accepting that there is no other way around it, Kyouko resolves to kill Sayaka as an act of mercy. She not only shows concern for Sayaka but also Homura and Madoka, advising Homura to take Madoka away from Oktavia's lair, having already put Madoka in enough danger by taking her along. Summoning a gigantic version of her spear, she reassures Sayaka that she doesn't have to worry. Kyouko will stay with her and not let her die alone, she won't let her be all by herself. She knows exactly how it feels to be alone. The attack is so powerful that it shatters Kyouko's soul gem, and with it, takes her own life and Sayaka's. For someone so determined to use magic only for herself, she ends her life with a very selfless act.

Guts | Berserk | Reserved

[enrage]

OOC Info;
Name: Ophy
Age: 28
Ways to contact: Plurk @ odawg
Characters currently played: None

Character Info;
Character Name: Guts
Canon: Berserk
Canon Link: http://berserk.wikia.com/wiki/Guts
Canon Point: Chapter 327
Character Age: Unspecified, mid-twenties
Character Suitability: n/a
Personality: Guts is the Struggler. He's a man who's faced incredible misfortune and a dark life that would break most people, but instead of succumbing to despair, he's fought on and screamed defiance like a wild beast. Near to every day of his life, and absolutely every day for the last several years, has been spent in non-stop combat and with him surrounded by misery and inflicting it on anyone around him if they are foolish enough to stick around for very long. No matter what, however, he refuses to break.

His personality has shifted as time has gone on, from the troubled youth afraid of other people, to the devoted friend and loyal companion, to a rage-fueled whirlwind of vengeance, and finally to the weary and reserved person he is at this point. Excepting the aptly-named Golden Age, when he was with the Band of the Hawk for a few brief years and, though still inundated in violence, happy with a small family of friends, nothing has ever gone right for him. Betrayal, revenge, and more collatoral damage than he's proud to admit are everything about his life.

Living by the sword is the only life Guts knows. From an early age, he was trained to be a fighter, and fight he has, ever since he was still a child. Death and gruesome injury no longer faze him, they're simply a part of who he is. It's only when he's in the thick of combat, facing opponents that can challenge him and being forced to rely on his wits to survive, that he truly feels alive. Stepping down from a battle he has even the slightest chance of winning is unacceptable, he will always struggle on and persevere, to find that one little opening he has to exploit to emerge victorious. Luck is frequently on his side, as well a sharp tactical mind, and Guts has no qualms with taking enormous risks or using outlandish plans to seek victory, much to the amazement and, frequently, ire of his companions.

When it comes to other people, Guts can usually seem distant and callous, at best. Being molested as a child provided him with a strong disdain for being touched by other human beings, one that has slowly eroded but left him still guarded and reserved. Blunt and harsh, he has no qualms with telling people the truth of the world as he sees it, with little to no concern for what they want to hear or what the effects of his words or actions will do. It isn't that he doesn't realize his actions have their effects, he simply doesn't care. The later ultimate betrayal of Griffith, the man he'd idolized and considered his dearest friend, has left him very reluctant to allow anyone at all to get inside his shell. He longs for the good times he'd had, but especially after Griffith's choice and the loss of Casca, the woman he loved, to insanity, reluctant is the best someone can get.

It's not all born from intimacy issues, however. Guts is a literal magnet for demons and evil spirits, thanks to the brand on his neck that marks him as a chosen sacrifice. It's a permanent reminder that Griffith must pay for betraying them all and casting them aside like tools to further his own ambitions, and every day, nearly without fail, he is plunged into battle with otherworldly creatures that seek his blood. After years of this, he's realized that having people around him will nearly always result in their deaths, either by the hands of demons, or by his own sword after they've been turned into something less than human. It's for their own sake that Guts kept everyone at bay, though he's begun to slowly loosen this rule as time has gone on and his companions are capable of keeping the demons at bay.

Underneath the impenentrable outside, there are two layers. The first is weariness, longing, and regret. Despite being in his early twenties, Guts is so battle-scarred and stressed that he looks far older. He blames himself nearly as much as he does Griffith for what his life has become, for the deaths of the Hawks and Casca's mind being brutalized to a childlike state. Endless struggle against so many enemies, against such bad odds so very long, has left him perpetually tired and resigned, and as time has gone on, he's shifted his priorities partially from avenging the Hawks to restoring Casca's mind, just so he has something to actually aspire to.

Propping him up, underneath all that weariness, is rage. He suppresses it as much as he can, but at Guts' core is hatred for the world, its people, and most of all, fate. His lust for blood was bad enough before he was given the Berserker Armor: now, his desire for death and destruction is a hellhound constantly gnawing at his subconscious. He doesn't just want to kill every demon, every god, and everything else that has ever wronged him, he wants them to suffer as he hacks their bodies to pieces. Under no circumstances will he allow himself to be caged and tamed, always struggling against anything that would hold him back, and steadfastly refusing to believe he is not free to control his own destiny. When he gives in and lets the rage consume him, he becomes more beast than man, capable of horrendous actions that would horrify even him if he was capable of rational thought.

Powers & Abilities: The brand on the back of Guts' neck is a supernatural affliction that aches and bleeds in the presence of supernatural creatures. Purely corporeal, natural creatures (like zombies infected with a disease and not raised through black magic) won't trigger it at all. In its nerfed state, only the most overwhelmingly-powerful creatures will make it bleed and give him warning, if such things ever exist.

He also possesses the Berserker Armor that practically counts as a power; see below.

Items on their Person: Guts will be bringing with him the following:

Prosthetic left forearm, crafted out of steel. A magnet in the palm allows him to hold onto his sword with it. The hand can be flipped down to reveal a cannon built into the arm with one shot per reload. If he had any reloads with him, they were lost at his canonpoint.

Throwing knives, well-crafted but otherwise mundane.

The Dragonslayer, an immense sword, taller than the already-tall Guts, that has been used to kill so many otherworldly creatures and been bathed in their essences that it partially exists in the astral plane, making it capable of harming even things that shrug off mortal attacks. Unless some kind of magical/demonic enemies appear, however, it's just a massive sword.

The Berserker Armor, a suit of cursed armor that can turn a person into a killing machine. It has the effect of turning off the user's ability to feel pain and neutralizing the subconscious desire to limit one's strength in self-preservation. The result is an immense increase in strength and endurance at the price of heinous damage to the body. The armor will do everything it can to keep the user alive, binding wounds, realigning joints, and setting broken bones with spikes that dig into the body. The armor can cause temporary insanity, plunging the user into a berserker rage and leaving them with the desire to just kill anything they can find to kill, be it friend or enemy; this effect can be suppressed with the help of a psychically-linked second person helping to keep the user's thoughts clear. Prolonged use of the armor has debilitating and permanent effects on the body: in Guts' case, a stripe of his hair has turned white, and his senses have begun to dull. Since this armor is practically a power in itself, it will grant less of a power boost, be less effective at keeping the user alive, and slip into the berserker state more quickly.

Samples;
First Person Sample:

Listen up.

One of them managed to bite through my armor last time I went out there. I don't know if I was infected or not, but I'm not going to take any chances. I'm going to go out there and kill as many as I can before I turn or they bring me down, whatever happens first. I'll be back in a couple days anyway. I'm leaving my armor here, I don't want you guys to find out what happens if a zombie shows up wearing that. Anyone sees me coming back toward the camp, kill me on sight. That isn't a request: I don't want any of you thinking you've got a cure, or you're going to save me, whatever, it isn't going to work. Hopefully, I'll be far enough away by the time I'm brought down I won't find my way back, but I don't want any idiots thinking they're a hero.

That's it. Save the tears for when I wake up back in here and can appreciate them, alright? I know you all care so much, it'd be a shame if I missed all the praise. Later.

Third Person Sample:

It was a pity that of all the things that threatened to kill the motley band of the living, hunger was one of the worst. Food was scarce in town, and people with the ability to hunt for game were in short supply. Guts was one such person, someone with the experience, will, and stomach to actually step outside the safety zone and go hunting. The rabbits in the park had served the group well, but they were getting more scarce as time had gone on. The rats were diseased, filthy, and people seemed reluctant to eat dog, and while Guts had no trouble with it, himself, he was reluctantly starting to dislike seeing people slowly starving around him.

That meant it was hunting time, for something a little more substantial, disease-free, and not domesticated. The herd of deer that had been spotted outside the town's walls, that was perfect. Some of the more squeamish still blanched at the idea of eating venison, but they'd shut up and eat when they smelled it roasting after a week of living on a can of vegetables a day. Guts had scouted the herd for over an hour, sitting on top of the wall and watching, until he was satisfied with the situation. The Dragonslayer had been left behind today, he needed mobility, and the weight of it and a hundred pound animal might have even weighed him down too much to be safe out there where worse things than vermin were waiting.

He climbed down from the wall once the herd came to a stop, stealthy and quiet. His breathing was kept slow and even, his eye trained on the biggest buck of the herd, as he slowly crept toward them. All distraction was out of his mind, there was nothing but the target and the sounds of the barren wilderness. One step at a time, he kept on moving, surprisingly stealthy for a man of his size. Just a little closer, and he could loose the knife held tight in his hand right into the animal's jugular. In a way, the buck was lucky: it was going to die a quick, painless death. The same couldn't be said for all the 'visitors' pulled into this world.

A howl tore through the air, just as Guts came within range. The deer spooked, of course, all of them raising their heads as one shortly before they bolted. "Shit." That single utterance, of annoyance and resignation, was Guts' way of telling the world he knew what was going on. Their friends, the wolves, had found the biggest source of meat around. There they were, just a second later, a pack of four or five rushing toward the herd. They slammed right into it, at the same time Guts came running. Screw subtlety and stealth, this whole excursion was botched if he didn't get in there and take his share. He twisted the knife and passed it to his mechanical hand, felt the magnet take hold, and drew another from the bandolier on his chest as he plowed into the melee.

It was strange how calm he was as he entered combat. There wasn't any hatred or malice, here: these were just animals, doing what animals did to survive, and that's what he was, too. He was the hound of hell here to get his due of the food to go around, and both the deer and the wolves were here just as naturally as he. A wolf clamped its jaws around the throat of that buck Guts had been after, bringing it down and snapping its neck, but before it could enjoy its prize, Guts sliced into it with both hands. Two animals, struggling to survive, were brought down in an instant: it was gruesome and cruel, but it was fair. The blood spray got the attention of the rest of the pack, and the distraction was enough for the herd to flee.

"Well." Guts stared down the wolves as they started to prowl toward him, growling and snarling. They could have run off, of course, let the superior predator have his kill and chase after the fleeing meat, but that just wasn't in their nature. "Come on, boys."

--

The last wolf ran, and Guts let it go. It had taken a nasty cut to the hind leg, but compared to its packmates, it got off easy. Four wolf corpses surrounded him now: a waste of good meat, he wouldn't be able to carry it all back, and scavengers would be all over it by the time he could return. Guts hadn't come out unscathed, either, there were bites on his arms, scratches on his legs, and one of the bastards had even raked across his back. This was going to take a night with the healers... damn, he missed the elf. Aching all over, he crouched down to start binding the deer carcass. It had fallen only minutes ago, still warm, and it wouldn't have time to get cold before it was over a fire. The ache of his injuries burned at him, but Guts ignored it as he pulled the dead, blood-soaked animal up over his shoulders and started to walk back toward the wall. He was going to be sore in the morning, but not having to listen to people groaning about going hungry tonight... that was worth it.

Additional Information: n/a

REVISION REQUEST

[jumpscare]

Thank you for your interest in Dead Weight! Your personality and samples show an understanding of the character, but we have a request that Guts's armor be further nerfed. At most, it will give him a slight advantage in terms of strength and defense, but not much more.

Would this be acceptable?

Robin Hood | BBC's Robin Hood | Reserved

[rouses]

OOC Info;
Name: mi
Age: 21+
Ways to contact: derpturk@gmail.com ; aokigahara @ Plurk
Characters currently played: Merlin

Character Info;
Character Name: Robin Hood
Canon: BBC's Robin Hood
Canon Link: here and here.

Robin of Locksley, the Earl of Huntington, left his life behind to join the Crusades for glory in the service of his king, Richard the Lionheart. He fought and he killed, but as time went on he grew increasingly weary of it. One morning he woke to find Saracens trying to make their way into the king's tent. Robin fought them, slicing one across a tattoo on his arm even after Robin himself received a bad wound to his side.

He was sent home after being away for five years. The war in the Holy Land raged on, but Robin found a different sort of war waiting for him back in England. There was a new sheriff, and Robin's estate had been overseen by Guy of Gisborne. His people were hungry and fearful of rising taxes and punishments that didn't fit the crime. Robin was told to order the hangings of four of his peasants for stealing flour. Instead, he rebelled, shooting them down from the gallows and taking refuge in Sherwood forest. Two of the four boys - Allen A Dale and Will Scarlett - joined Robin, along with his faithful servant Much.

They soon met with another gang of outlaws, led by a large man named Little John. Things didn't go so well at first, but after Robin turned himself in to keep Little John's wife from losing her tongue, he was swayed to Robin's cause. They were soon joined by Djaq, a Saracen brought to England as a slave. Robin Hood, the man and the gang, proceeded to rob from the rich and give to the poor. And they were good at it. Robin wasn't quite so lucky with the heart of Marian, the daughter of the former sheriff and the woman he had been engaged to marry before running off after his king.

Canon Point: 2x05, right after discovering who the traitor among his men is.
Character Age: 29ish
Character Suitability: N/A
Personality:

Robin joined the Crusades seeking glory, to protect his King and reclaim the Holy Land. What he discovered was that his enemies weren't so different from him, and that a man could grow weary of bloodshed. He returned a changed man in these ways, not-so-changed in others - he still likes a little glory. But mostly he just likes to be loved. Being blamed for things he didn't do, or innocent people being harmed because of him, these are the kinds of things that keep Robin awake at night.

Robin hates injustice above all else, and is willing to go to extremes to fight it. For him this meant turning outlaw, forfeiting lands and titles in order to help the less fortunate. Robin of Locksley, a noble, became Robin Hood, an outlaw who robbed from the rich and gave to the poor. He does draw the line at bloodshed and chooses to avoid it whenever possible. But when pushed too far, Robin does have a darker side to him, one that could kill or even be tempted to torture. When Robin loses his temper, he really loses it, making him more hot-headed than usual.

Though it was a selfless act, Robin was hardly humbled by living in the woods. He is courageous but still cocky, the kind of guy who literally laughs in the face of danger. Authority certainly doesn't scare him. Sometimes he presses his luck simply because that's where the fun is. It seems that he's always walking a very fine line between clever and reckless, and this applies to his love life too. Despite his roguish charms, Robin really thinks too highly of himself at times. But he is a leader, a hero, and inspires others on a regular basis, so most of his friends forgive him for his ego.

Robin is stubborn, and an idealist who believes that there is always a choice, and doesn't accept excuses easily. That isn't to say that he isn't compassionate to the plights of others - he is, too much at times. And for that same reason, it frustrates him when he's unable to find the solution to a problem right away. He's also learned tolerance from being overseas, and has more of an open mind than most of his men.

Loyalty is another of his strongest qualities. Loyal to his king, loyal to his men, he's proven again and again that he won't leave a friend behind. The innocent are likewise under his care and he will do what he has to to protect them, even if it means giving himself up or walking straight into a trap. His actions don't come across as suicidal though, he has too much arrogance confidence for that. But he uses his cunning as much as his bow. Rest assured that he'll think of a way out of it.

Just give him a minute.

Powers & Abilities:

Robin is a more than capable fighter, good enough to fight alongside the King as part of his Private Guard while in the Holy Land. He's good at brawling, able to take on several opponents at once with a sword, but it's his marksmanship with a bow that he's really known for. Robin rarely misses his target, even if that target happens to be the space between someone's fingers. He can shoot several shots in quick succession with this same accuracy, and while the rumors that he can hit a man from a mile away might be exaggerated, he can hit a mark from a distance that the vast majority could not.

He's also skilled at hunting, camouflage, setting traps...he is the original outdoorsman, okay.

He has no supernatural powers.

Items on their Person: Robin will be arriving with his recurve bow, a few arrows, and scimitar.

Samples;
First Person Sample:

[There are those who know how to use the phone right away. And there are those like Robin, who tumble it around in their hands, turn the video on accidentally.]

How many pieces of silver...how much gold did it take to make this thing?

[Too much, he'd guess. But there are more important things to consider right now. So he starts to address it, hoping that someone actually can hear him.]

There is very little that I'm sure of right now. But I've already seen enough with my own eyes to know that there must be injured people out there. I, for one, plan on helping them, and it's up to anyone who can hear my voice whether or not they want to join me.

I won't tell you that it isn't dangerous. We'll have to watch each other's backs. But I can't do it alone, and I won't leave the good people defenseless.

So who's with me?

Third Person Sample:

In hindsight, Robin probably shouldn't have laughed.

That was one of his first reactions after getting free of his restraints, after the film started to roll. It was unnerving, yes, to see himself on the screen. But he had seen new things before, things that people in England would call "witchcraft". This was no exception. But it only showed him things that he'd already done, already gotten away with, and his men were mostly absent from it. Robin didn't see much of a threat.

Now he's outside and can see the results of the pestilence for himself, and he knows that it wasn't just a ploy of those in charge.

"Stay where you are, or I'll be forced to shoot!" Robin draws the arrow back, but the zombie continues forward, completely ignoring the warning as zombies are apt to do. Robin hesitates, because it still looks too much like a man, maybe more sick than evil. He knows what he's been told, but how many good men has he killed because he was told to?

He lowers the bow, but not completely. The arrow still flies, piercing the zombie's foot and pinning him in place, and Robin takes that as his chance to retreat. He needs to find woods, someplace he can set up camp and take cover while he sorts everything out in his head. But the next time he runs across a zombie, he has no choice. He draws his scimitar and slices one across the stomach as it goes for his neck. There's no reasoning with them, no agreeing to disagree. Yet another thing that he's learned today.

He pulls himself up onto the fire escape of one of the dilapidated buildings, climbs it to the top where he can see all the city beneath him. It isn't much, not anymore. But if there are others out there, maybe they can make something of it.

He looks toward the sound of a scream, drawing an arrow as he prepares to take the quickest, most dangerous route back down and find the person in trouble. "We are Robin Hood." Even if this isn't his England. Even if he's alone.

Additional Information: Nothing!

ACCEPTED

[jumpscare]

We are pleased to accept your application to Dead Weight. Welcome to Kingswater. You have been chosen for the Human Regenesis Project. Your starter weapon is a sickle. Feel free to peruse the arrival post to know what to expect upon revival.


• Please create your character journal if you haven't already, then join the following communities: deadweight (network), deadlogs (logs), and dryrot (ooc). Optionally, join our meme community, drybones.

• Comment to the taken characters page. Create an IC INBOX and, optionally, a PERMISSIONS POST within your journal and reply to the contact page.

• Once you've been let into the communities, introduce yourself on the OOC community. Join the AIM chat at deadweightchat and/or follow the mod plurk at deadweightmods, if you'd like.

The game opens on July 1st at 12:01AM EST. Good luck in the Real World.

Charles F. Xavier || X-Men: First Class || Reserve Challenge

[captainmom]

OOC Info;
Name: Chanel
Age: 21+
Ways to contact: emailnumbertwelve @ Gmail . com
Characters currently played: None

Character Info;
Character Name: Charles Francis Xavier
Canon: X-Men: First Class
Canon Link: Mutants!!
Canon Point: Just as the ships turn their attention to the X-Men.
Character Age: 30

[captainmom]

Personality: Charles is above all else an optimist, he believes in the best of man and mutants alike. That, despite the experiences life has brought about, you can master your own destiny and become the man you desire (with help from those around you). He believes that a kind voice and a caring hand can alter the world if given time. He also believes that if you do good it will be done unto you and most of all that some day mankind and mutantkind can coexist peacefully. Charles wants to work to build a future where mutants are accepted as a natural step in evolution rather than a threat, where humans and mutants could-- with their vast abilities-- work together to make a better future for all. Charles believes that together society could evolve exponentially with these new abilities and peace can be reached. This is visible in the fact that, with the exception of dire circumstances or to protect himself, Charles finds that violence is never the answer and he abhors killing. His optimistic nature makes it evident that he believes in rehabilitation as opposed to simple punishment; he attempts to stop Erik from killing Shaw because those kind of actions do damage to not only the killed but the killer. Even if the man could not be rehabilitated, Charles finds they have no right to pass judgement themselves.

That is not to say Charles is without his faults; he’s arrogant and at times naive. It would be amiss to say he was innocent, as any man who can see into the dark corners of other men’s minds is anything but. These traits are exemplified in several of his encounters with Erik, where it’s clear he can see Erik’s suffering in his mind and can sympathies with his pain, it’s obvious (from some of his actions and words, ala the uttering of “they were just following orders” in Cuba) that he doesn’t entirely grasp what he’s been allowed to see. Raised a (comparatively) sheltered life he can empathize with the pain however he cannot always understand the conflicting notions and lasting scars that come with it.

His insufferable belief in his ideals and the optimistic-like nature it gives him often leaves him vulnerable because of his expectation that given the chance most men, if not all men, can be good or will do the right things. Set in his ideals he often butts heads with people close to him (namely Erik or Raven), situations in which he rarely sees fit to concede any ground. Charles frequently believes that his assumptions and theories are correct because of his mutation; with the ability to see into the minds of many he feels the right to an authoritative stance on human nature and behavior. He assumes most people can learn to fall in line with his ideals and if he begins the school for mutants that he can mold their future into the peaceful one he desires.

In addition to this Charles is very driven; he has several degrees (most recently his doctorate from Oxford) and when given the opportunity to work with the CIA he jumps right in even though he had just graduated the day before. Charles is obviously highly intelligent, as evidenced by his degree, manner of speech and mutation. Charles uses this knowledge to his advantage when helping both the CIA and his students. It’s apparent in the way he assists in finding new ways and uses for their abilities that can only be built from a base understanding of how they work and what is or isn’t theoretically possible.

Charles’ ability to see the thoughts of others often provides him a one-up on most; knowing what they want or need from him even before they ask. This also leads him to be a bit selfish; he likes to be in control of things, lead the way and will use his ability to see to that. While he doesn't take over anyone physically with his telepathy or alter their thoughts and ideas, he does use the knowledge he gains from their minds in order to nudge them in what he thinks is the 'right' direction. He has trouble abiding by the rules of someone else if he deems that they are unfair or incorrect and won’t hesitate to voice his opinion even when things are better left unsaid.

For as educated and gifted as he is, Charles’ world was relatively small before he encountered Moira MacTaggart and subsequently many of his future students. He’s known loneliness and pain, but nothing quite as considerable as many of the mutants he comes across. His inherent good nature also makes him prey to those who would use it against him. It also leads to him saying things he shouldn't, because he doesn't consider how the words will impact people based on their experiences. It provides him a great deal of trouble with Raven, as he had promised to stay out of her head. Because of this Charles often doesn't catch the implications of his actions or words when it comes to her. The kitchen scene for example; Raven enters, in her true blue form with no clothing on and Charles is startled. Since he doesn't see her in the same way, thinking of her more as a sister than a potential partner he's unnerved by her being in the nude, but she believes it's because he's seeing her in her natural blue form and no longer cares for her because of it. There is no distinction of difference to her, as she first met him nude, but to him she is now a woman and the nudity is inappropriate especially considering their familial bond. She gets upset and leaves, and he doesn't even realize the impact of the conversation till far later when Raven decides to leave him in favor of going with Erik.

Despite the fact that Charles wants people to perceive him as much older than he is he still has youthful digressions; the most prominent being that he quite enjoys his drinking and chasing skirts. Charles, especially in his days at Oxford, was known to go out to the local pub, get mildly smashed and then attempt to pick up coeds with amusing lines about genetic mutations and the evolution of man. Sometimes it worked, sometimes it didn’t. Truth be told he still succumbed to the follies of youth and had many things to learn though he did best to hide that fact.

John Watson || BBC Sherlock || reserved

[you_dont_work_alone]

OOC Info;
Name: C
Age: 21+
Ways to contact: kaizoku01@gmail.com, PM, aim: fatimablue1
Characters currently played: none

Character Info;
Character Name: John Watson
Canon: Sherlock – BBC tv series
Canon Link: http://bbc-sherlock.wikia.com/wiki/Dr._John_Watson
Canon Point: End of season 2
Character Age: ~38-40

Character Suitability: N/A – Character should be suitable based on his age and his ability to handle high stress situations. He is former British military.

Personality:

Upon his introduction into the series, John Watson was a man who’s suffered due to his time spent in Afghanistan. He served as an Army doctor and Captain of the 5th Northumberland Fusiliers. His rank already says much about his character as a man who is capable of being in charge of others. He’s able to maintain command even during dangerous situations as he did during the Afghan war, but while serving he was shot in the shoulder and was discharged later due to his injury and a diagnosis of PTSD (post-traumatic stress disorder). The disorder left him with a leg limp and an intermittent tremor in his left hand.

Returning to London, he began seeing a therapist and it became clear he was also suffering from depression. John says nothing ever happens to him when his therapist suggests he maintain a blog as a way of expressing himself. Now that he’s out of the Army, he feels as though his life has lost purpose and meaning, and he can’t seem to really adjust to civilian life. The truth of the matter, which both Sherlock and Mycroft Holmes seemed to realize quickly, is that John thrives on pressure and tense situations. Even with a bomb strapped to him, he wasn’t afraid of jumping on Moriarty’s back and daring Moriarty to take both of them out. Only a man who could exist under extreme circumstances would have the daring to do such a thing. This act also shows how brave John is and how willing he is to sacrifice himself to save his friend, Sherlock Holmes.

Perhaps it’s because John has seen and experienced so much that he’s able to deal with Sherlock Holmes’ bizarre ways when no one else can tolerate him. When Sherlock is examining John to the point of irritation, John acknowledges Sherlock’s brilliance rather than takes offense to it. He can recognize that Sherlock is special and different. Because of this, he shows a great deal of patience and tolerance for the man, even when Sherlock pushes the limits of politeness by calling John home from across town just to ask John if he can borrow John’s cellphone.

As Sherlock’s friend, John takes it upon himself to help Sherlock behave in socially acceptable ways whenever possible. One side of John is a hardened Army combatant, but the other side is very human. When someone dies during an investigation, John feels remorse for their death. Sometimes Sherlock’s lack of feeling makes John angry because he, unlike Sherlock, understands the feelings that bring ‘sentiment’ out of a person. Deep down, John does have a good and gentle heart that can get attached to others. He grows quickly attached to Sherlock, of course, and he is very caring toward Mrs. Hudson (their landlady) when she’s harmed. His desire to have a connection to others is also shown through the string of girlfriends John has had over the last year, though none of his relationships last more than two months due to the bizarre nature of his life with Sherlock Holmes.

Because of his attachment to people, he is very loyal toward them. When Mycroft offers John money to spy on Sherlock for him, John turns Mycroft down without a second thought. This is odd at first, likely even to John, since his therapist labeled him as a man with trust issues, but despite that, he placed his trust in the most unlikely of people. He is a man of strong moral compass, so accepting a bribe simply isn’t in his nature to begin with, and his morals would also prevent him from killing a man unless it were absolutely necessary. However, John is willing to pull the trigger if needed, like when he killed the serial killer to save Sherlock during their case, “A Study in Pink.”

In all, John Watson can be described as a fighter, a survivor and very importantly a loyal and trustworthy friend. After witnessing Sherlock’s death, John was shattered to the core. He realized that Sherlock had given him a great deal and cured him of the intense loneliness he had experienced since coming home from the war. He needed a friend as much as Sherlock probably did. Despite all that was said after Sherlock’s death, John refused to ever believe that Sherlock was a fraud because of his unwavering faith.

John Watson || BBC Sherlock || reserved

[you_dont_work_alone]

Powers & Abilities: (John is human so he has no powers. His general abilities follow:)

Doctor/Medical – John was trained at St. Bartholomew’s Hospital and served as a doctor in the Army. He has extensive medical knowledge, especially related to high trauma damage, which he would’ve been familiar with after serving in the Afghan war. When Sherlock asks John if he’s any good, John says with absolute confidence that he is “very good”.

Firearms – John has military training with the use of firearms and shows that he is actually an amazingly good shot with a pistol. During “A Study in Pink”, John is able to fire a bullet from the window of one building and into another killing a man who was standing very close to Sherlock Holmes. Only a man with precise aim and nerves of steel could make a shot like that. In addition, during the Hounds of Baskerville case, when the hound appears, Detective Inspector Lastrade fires his gun twice at the dog and misses, but despite being under the influence of a strong fear gas, John is able to fire his gun and kill the hound.

Nerves of Steel – John is not the type of person who lets fear overcome him in dangerous situations. It’s almost amazing how well he can keep things together. When first meeting Mycroft, John is surprisingly calm despite not knowing where he is, who he’s speaking to, or if any harm is intended toward him. John is blunt and even daring when he speaks to Mycroft, showing his fearlessness of character. When chasing down the cab in “A Study of Pink”, John follows Sherlock with little hesitation and jumps from one roof to another. All of his military training and experiences during the war have allowed John to keep calm even in life-threatening circumstances.

Sleuthing – John is nowhere near as talented as Sherlock when it comes to powers of observations, but after spending a year and a half with the now-famous detective, John has picked up on some skills. He’s become more observant and serves as a capable assistant during Sherlock’s cases.

Athletics – With his military training, John is fairly athletic, even though he’s been officially discharged from the army after suffering from some trauma during combat. He’s able to keep up with Sherlock when running down criminals. He’s also got a great right hook and isn’t hesitant to jump into a fight when needed. Also, when he was younger, he played Rugby.

Items on their Person:
• Clothing: Shirt, jumper, jeans, coat, wristwatch, shoes
• Mobile Phone
• Pistol – Sig Sauer P226R [L106A1] – special military issue for Afghan soldiers

Samples; (All samples must be set in the game's universe)

First Person Sample:

[The video feed turns on to show one very confused looking man. He glances about somewhat uncertainly and licks his lips.]

Hello? I’m not sure if anyone is getting this, but I think I’ve been abducted.

[Amazingly, despite that statement, he sounds incredibly calm about the whole thing.]

This place.. it looks like a hospital or a lab. This isn’t even my phone. It was left here… I assume for me to use.

My name is John Watson. I’m a doctor from London.

Is anyone out there? Listen to me. Tell me what the hell I’m doing here or let me go.

And don’t try to convince me it has anything to do with the project mentioned in these pamphlets because that is utterly absurd.

[End of the world? Yeah right. He’ll believe it when he sees it.]

Third Person Sample:

His footsteps echoed as John went up and up the staircase of the facility. A world that was ruined by some bloody apocalypse? He was in London just moments ago. How did he end up here! John’s mind raced as quickly as his feet as he took stairs two at a time, higher and higher.

Drugged. That must be it. I was drugged and brought here unconscious. But why? Who?

There was no reason for anyone to come looking for him now that Sherlock was dead. His life had felt empty and ordinary since that day, which hadn't been so long ago. Moriarty was also dead, so John figured he could rule the madman out as a suspect. Still, that left him with nothing but questions.

He refused to believe the nonsense that phone was saying. The pamphlets and the ‘proof’ of his life as a work of fiction? Even harder to swallow! No, he needed answers. Real answers, and he would get them. If this world was indeed decimated like the provided ‘evidence’ claimed, then John should be able to see it with his own eyes.

When he got to the roof access door, John pushed it open and stumbled out into the sunlight. He lifted a hand and squinted against the rays of the sun. That didn’t stop him though. His eyes would adjust in a moment, so he walked his way to the end of the roof and held a hand up to shield his eyes from the light.

Soon, all came into view. Beyond the wall he witnessed the remains of what used to be civilization.

“Oh.. no. Nono, this can’t.. it can’t possibly be..”

John turned away and brushed his hand down the front of his mouth. He didn’t look back. Get it together, John. Get it together! This had to be some sort of elaborate trick! What he saw out there, the ruins and the nothingness was just too impossible to believe. If this was a rouse, it was ridiculously well designed. Perhaps, a little too convincing. But who would go through this much trouble to create this and put him in the middle of it?

Additional Information: (Questions, comments, and additional miscellaneous facts about your character may be added here!)

Stefan Salvatore | The Vampire Diaries | Reserved

[sainted]

OOC Info;
Name: Gemi
Age: 26
Ways to contact: Email is phil4nthropy[at]gmail[dot]com. PMs also work.
Characters currently played: N/A

Character Info;
Character Name: Stefan Salvatore
Canon: The Vampire Diaries
Canon Link: WIKI
Canon Point: 3.03 "The End of the Affair" (after the episode)
Character Age: Physically (and eternally) 17. Chronologically 162.
Character Suitability: N/A

Re: Stefan Salvatore | The Vampire Diaries | Reserved

[sainted]

Personality:

"When someone becomes a vampire, all of their natural behaviors get sort of amplified. [...] As a human, I cared deeply for people, how they felt. If they were hurting, I felt their pain, and I felt guilty if I was the one who caused it. And as a vampire, all of that got... magnified." — Stefan Salvatore (2.03)

"Anger becomes rage. When you're sad, you're in despair. Grief. Loss. It can cripple you. That's why so many of us turn our emotions off. It just becomes... too overwhelming. You know, for a while, for me, the good just wasn't worth the bad." — Stefan Salvatore (2.20)

"It hurts me. It hurts me, knowing what I've done, and that pain... That pain is with me all the time. And every day, I think that if I just... If just give myself over to the blood, I can make that pain stop. It would be that easy, and every day, I fight that. And I am so terrified that one day, I'm not gonna want to fight that anymore, Elena." — Stefan Salvatore (1.20)

"It's his signature; it's a reason they call him the ripper. Feeds so hard, he blacks out and rips them apart, but then when he's done, he feels remorse. That's the damn thing... he put the bodies back together." — Damon Salvatore (3.01)

Stefan is a vampire who is incapable of stopping himself from caring or feeling guilt. When we first meet him in Season One, he's brooding, serious, and something of a white knight, repeatedly stepping up to protect others without hesitation. He's sworn off human blood, and is implied to be the only vampire with the discipline to subsist entirely on animal blood. Although you may assume that this is a characteristic "friendly neighbourhood vampire" quirk, it's later revealed that abstaining from human blood is the only way Stefan can cope with being a "ripper" — a vampire with an exceptional drive to hunt, kill and feed. What distinguishes a ripper from any other bloodthirsty vamp is their complete lack of moderation. Stefan once wiped out an entire migrant village — men, women and children — in one go. Like an alcoholic, he is literally addicted, and becomes a whole other person when he's been drinking. The only solution he found was to go completely "clean."

That Stefan is a ripper is directly tied into his magnified compassion: his grief, guilt and self-loathing spur his desire for human blood. Human blood is only thing which allows a vampire to deaden their emotions, and shut themselves off from their guilt. (This ability has been described as a "switch", although canon indicates that "switching it off" means the emotions are still there under the surface, the vampire can simply choose to ignore it.) But the more blood he gets, the guiltier he feels; hence, the more he wants the blood. To say that Stefan has a martyr complex is an understatement. He literally blames himself for every single bad thing which has happened since Katherine transformed he and his brother into vampires. Even fifty-plus years of living as a "good" vampire, not killing or feeding on any human beings, was not enough to atone for any of it. (Although it did make him pretty self-righteous and hypocritical at times, especially when dealing with his less apologetic brother.)

Stefan managed for decades to fight against his nature and hold onto his humanity. He found true love in Elena Gilbert, and had begun to mend his complicated relationship with his older brother, Damon. He gave it all up to serve as Klaus' wingman, and while it was "only" a few months he spent tearing apart dozens of humans up and down the Eastern seaboard at Klaus' beck and call, the time left him permanently altered. (Note that the last time he was a ripper, it took thirty years for Stefan to pull himself back together.) Even while doing the worst, most unforgivable things in his life, Stefan held onto his humanity (i.e. his ability to feel empathy and remorse), for the sake of his love for Elena.

Stefan in 3.03 is right on the precipice of the darkest place his character will go, although at this point he believes he can't descend any lower. But he has yet to give up his humanity, or threaten the lives of his loved ones, or even completely give up on the possibility of redemption. (Later, when he does all these things, he can only find a reason to keep going through anger, hatred and a desire for vengeance.) Which isn't to say that right now he's not in a bad place. A few months ago, he was ready to commit suicide because he almost killed a girl. At this point, he's willingly killed more people than he can count, and has basically resigned to continuing down this path. He doesn't believe it's possible for him to return to the life he had.

He is not, at his core, drastically different from the tortured, considerate and socially awkward vampire of Season One. Instead he tries very hard to act otherwise, for Klaus' benefit, and can be seen swaggering as he tortures a werewolf, or blithely claiming he doesn't care about anything anymore, or relishing in a kill. Stefan is not a great actor. If he seems convincing, it's honestly because some part of him does enjoy killing and torturing, and this part of him only fuels the self-flagellating part of him. This contradiction is best illustrated by a wall of names he kept in the 1920's, during his worst period as the Ripper of Monterrey. He listed the names of every single one of his victims since he first became a vampire, both to punish himself so he never forgets the people he's hurt, and to let him relive the kill over and over. He's spent decades repressing the latter side, and now months ignoring the former, and believes only one or the other can define him. (Later, Stefan will find some peace in accepting his dark side and stop trying to repress so much, but right now he's not even close to that revelation.)

For all this talk about unbearable guilt, his intensified feelings do go the other way too. Stefan is capable of great, selfless compassion. He demonstrated his love for Elena not only by protecting her, but also by protecting her family and friends, and protecting her freedom to make her own decisions, even if it meant he might lose her. (Notable examples include supporting Elena when she wanted to sacrifice her life to save her loved ones, or said she didn't ever want to become a vampire.) He gave up his humanity to Klaus in order to get the cure to save his brother's life. When a car went over a bridge, he jumped into the river to try to save the family within, without even knowing who they were. That's the kind of person Stefan is. Yes, certain factors like his martyr complex and impossible need for atonement influenced his actions, but at the core of him is a genuinely good heart.

So where is Stefan right now on the scale between Saint Stefan and Stefan the Ripper? Upon arriving in Kingswater, he will be removed from the presence which forces him to kill and act like a douchebag (i.e. Klaus), but he's been in it long enough that at this point it's impossible for him to just go back to "normal." He will be struggling with his insatiable thirst for blood and all of the violence and pain he's inflicted lately (and enjoyed). That Stefan now doesn't need blood to survive is as incidental a fact as it was before he arrived in this world. It's going to be hard. He will have his loved ones, most with drastically advanced development, but he will not trust himself around them (mostly, Elena). He may try to keep his distance from them.

The white knight part of him which once never hesitated to come to the rescue of someone in need is still there, but has been damaged by his recent experiences. If he falls in with a new crowd, he'll still feel the pull to protect them, but he has more difficulty showing the kind side of him, much less opening up. He'll throw himself into some sort of job or mission (killing zombies, maybe) to save himself from having to deal with his relationships or his fragile self-control. Stefan's blood-thirst can make him aggressive, irritable and/or reclusive, and this will probably be his mood 90% of the time considering how little edible blood he's getting now. He'll need to find an anchor if he wants to keep holding onto his humanity. Right now, those anchors are Elena Gilbert and Damon Salvatore, and no matter how hard he tries to push them away, it's a guarantee that he will do everything to make sure no harm comes to either of those two.

Powers & Abilities: (Borrowed from saviored with permission.)
ABILITIES:

» vampire teeth (their canines extend and blood floods the whites of their eyes, also darkening the veins around their eyes)
» vampire blood (capable of transforming a human into a vampire if they die with his blood in their system; also heals injuries if ingested) → minor cuts and bruises take a few days; broken bones take four weeks (i.e. heals only slightly faster than an average human)
» super strength/super speed/enhanced reflexes (at his full speed, he appears as a blur to human eyes) → reduced so that he is only a bit quicker/stronger than the average human
» heightened senses (smell/hearing/night-vision) → he can see a little bit better at night (shadows mostly) and his hearing is more sensitive than average so he might catch small movements if it's quiet enough, but he's not going to be listening in on whispered conversations from across the room. Ditto for his sense of smell. His sense of smell for blood remain just as strong, however.
» ability to "switch off" their emotions (discussed above)
» compulsion (mind control, requires eye contact and spoken orders) → will no longer work properly, and cannot do more than small movements, if that
» dream manipulation (ability to control the dreams of others) → ditto; only very minuscule changes to dreams
» accelerated healing (can recover from cuts, stabs, bullets and broken bones within minutes) → minor cuts and bruises heal immediately; larger injuries will take a bit faster, but something like a broken bone will still take weeks (but not months like it normally would); deeper wounds will take anywhere from days to over a week
» immortality (immunity to aging, diseases, etc.) → nerfed to fit game resurrection rules

WEAKNESSES:

» thirst for blood (bodies will dessicate if deprived of blood for over a week; in Stefan's case, also a literal constant addiction which he still managing) → dependence on blood removed, although Stefan will still crave blood
» fire or sunlight → vulnerability to sunlight removed, ring is also de-spelled
» vervain (a type of herb which is poisonous to vampires; also provides immunity to compulsion. Stefan has built up a slight tolerance to it.)
» wood (while they can be impaled by metal, only wood will cause them pain or kill them if stabbed through the heart)
» werewolf bites (especially lethal to a vampire)
» invitations (vampires require an invitation to enter an occupied home; occupant must be human and/or alive) → in-game, if anyone sets up what could count as a long-term home (i.e. they're planning on staying there for at least a few months) in any abandoned house/building, he will need to be invited in.
» bloodline (if the Original vampire he is "descended" from dies, then he dies too)

Items on their Person: lapis lazuli daywalker ring, clothing (including blue-grey button-front shirt, dark blue jeans, brown leather boots), wallet, cell phone

ARTHUR | INCEPTION | RESERVED 1/3

[teamkill]

OOC Info;
Name: Chels
Age: 23
Ways to contact: PM to character journal or to smashbrothers, please!
Characters currently played: n/a

Character Info;
Character Name: Arthur
Canon: Inception (2010 movie)
Canon Link: 1, 2, and a brief write-up:

Arthur's first spotted on a job with Cobb, working two layers deep in the subconscious of the wealthy and powerful Mr. Saito. The job goes badly, and when they attempt to flee the country under threat of death from their employers, Cobol Engineering, they're stalled by Saito, who offers Arthur and Cobb an escape from Cobol -- and for Cobb especially, a way back to the United States.

Saito wants Cobb and his team to plant an idea in the subconscious of Saito's corporate rival, Robert Fischer, to keep him from overpowering Saito's company. This tactic is called inception and is thought to be impossible by most people in the dream-sharing business. Regardless, they accept the job and form a team of six people consisting of Cobb, Arthur, Saito, Ariadne, Yusuf, and Eames.

TL;DR: Saito is shot and ends up in Limbo, Fischer is also shot and also ends up in Limbo, Arthur has to fight a slew of armed men to keep the rest of the team safe from harm, and Cobb and Ariadne go to Limbo purposefully to retrieve both Fischer and Saito. In the end, they barely pull off the job, and Cobb gets to go home to his kids. Yay, team. Meanwhile, Arthur stands around and looks totally hot in a suit.

SO, BASICALLY, Arthur plays the part of the very disgruntled babysitter of the primary protagonist, Dominick Cobb. He's not actually his babysitter, sure, and he's nowhere near responsible for him, but he is seen hovering warily over Cobb's shoulder for about 90% of the movie.

Concerning Arthur's history prior to Inception, not much has been revealed. Most likely, Arthur's been working with Cobb for many years, and if he didn't immediately flee the States with Cobb following the unexpected death of Cobb's wife, Mallorie, he met up with him at a later date to resume his work with him. Arthur is Cobb's designated "point man," and he serves as the planner of the group: he's the man who ties up all the loose ends, who digs up the dirty little details his targets don't want him (or anyone else) to know about. In the Fischer/inception job, there were three levels to the dream, and Arthur played the biggest part in the second level: he distracted the projections of Fischer's mind and kept them occupied while Cobb and the rest of the team completed the job on Fischer.

Arthur was also well acquainted with Mallorie, given how he (briefly!) speaks of her to Ariadne, and how he reacts/responds to Cobb's projection of her.

Post-Inception, Arthur's back in the States and is no longer working with Cobb. Whether he stays in the dream-sharing business or moves on, we're not sure, buuuuuut. Given how much he enjoys his work and how fascinated he is by it, it's doubtful that he'd retire with Cobb, even with his professional attachment to him.

Canon Point: Post-movie
Character Age: 30
Character Suitability: n/a

ARTHUR | INCEPTION | RESERVED 2/3

[teamkill]

Personality:

"This is a loaded die. I can't let you touch it, that would defeat the purpose. You see, only I know the balance and the weight of this particular loaded die. That way, when you look at your totem, you know beyond a doubt you're not in someone else's dream."

There's no one who can tell Arthur what to believe, and the people who can are the people he already trusts with his life—and there aren't many people he trusts with his life. He trusts the loaded die he keeps in his right pocket and the loaded gun in the holster on his shoulder. They're the only assurances he'll ever need, especially when he's asleep two layers down in a dream and the world around him cracks and falls to pieces. He doesn't trust anyone, least of all himself, because it's a lot harder to get burned when no one can get close enough to burn him.

Despite this, though? Despite his ingrained, learned paranoia and his tendency to mistrust unknowns? He's not that hard to get along with.

Arthur can be a damn good conversationalist when he wants to be, when he meets cute, wide-eyed brunettes who constantly keep him on his toes with question after question after question. But when you're on the run from jobs gone bad and from the men and women who would like very much to arrest you and throw you in jail for the rest of your miserable, no good life, you don't really have a lot of time for coffee shops and idle chatter, so Arthur doesn't like to waste time on people who aren't going to do anything for him, who he can't use to his benefit in some way. He sounds cold, but he isn't, not really. Arthur is exactly what his job has shaped him to be, and that's adaptable and very, very careful.

In tight, tense situations, he's the kind of man you want to have around. He puts logic before emotion, accepts reason before passion and blind instinct, and he's very grounded in his beliefs, in his sense of reality, to the point where he'd much rather keep a close eye on Cobb's disintegrating grasp of what's real versus what's not real instead of worrying about his own doubts and insecurities. Even when Cobb is the asshole who doesn't listen to him when Arthur very clearly tells him that the man they've targeted knows they've targeted him, and he ends up on the other side of a loaded gun because of Cobb's inability to listen, he doesn't do much more than shoot a withering look in Cobb's direction. Because he told you this would happen, you giant tool.

Cobb, and Arthur's relationship to him, is one of his larger weaknesses. The only reason Cobb fucks Arthur over is because Arthur's stupid enough to let him, and when it happens, Cobb basically faces no repercussions for his actions because no one really calls him on his shit. But Arthur is loyal, certainly, to those who have earned his loyalty, and he obviously believes in the ideals of camaraderie and honesty where they count.

His integrity is something that he cares for very much, criminal or not. He's not a bad person; he's actually a pretty okay guy who sometimes does some really bad, legally questionable shit.

Even when everything's gone to hell, and he's up shit's creek without a paddle, Arthur knows how to roll with the punches, knows how to keep moving even before every other option is taken from him. He doesn't have to wory about Cobb's bullshit because Arthur's not the one ensnared in a mess of his own memories, and he doesn't see the point in escalating an already tense situation with nasty, angry words when he knows words don't fix shit.

Fixing shit is what fixes shit, and Arthur would rather busy himself with finding a solution to his problem than with standing around and arguing about how big of a problem that problem is for an hour and a half. He's resourceful, creative, productive, and he loves his work; solving the questions that people have, that he has, is something that he excels at, no matter how large and complicated the question.

Arthur gets what needs to be done, done, and then he moves on, and anyone standing in his way can either move the hell out of his way or wait to be moved

But they'll move.

Powers & Abilities:

➜ (POINT) In the movie, Arthur's role as point man plays a big part in who he is and how he functions as a person. He acts as a lead into hostile, dangerous situations, most often putting himself into direct line of fire to scope out territory, and to protect those following behind him. As point, he's learned to be bold and aggressive while also remaining cautious and ever aware of his surroundings.
➜ (DREAMS) Trained as a professional infiltrator of the human subconscious via a process known as "dream-sharing".
➜ (INTELLIGENCE) Arthur's detail obsessive and a rapid problem solver who creatively thinks on his feet.
➜ (MILITARY SERVICE) Trained extensively in both hand-to-hand and weapons combat. He knows how to handle a wide variety of firearms, from a standard Glock 17 to a military-grade rifle, and is most likely trained in combat knife fighting. When facing off hand-to-hand, Arthur uses a combination of striking and grappling techniques where his focus is on incapacitating his target.

As for powers, he has none! He's 100% human.

Items on their Person: [1] 3rd Generation Glock Model 17, fully loaded; [2] spare mags; [1] loaded red die; [1] passport; [1] leather wallet holding ID, various credit cards, and $150 in cash; and [1] briefcase containing the PASIV device.

EAMES | INCEPTION | RESERVED - 1/3

[rocketfalls]

OOC Info;

Name: Abi
Age: 20
Ways to contact: dragonpunch @ plurk or journal PM.
Characters currently played: N/A.

Character Info;
Character Name: Eames
Canon: Inception.
Canon Link:

Eames at the Inception wiki, which really isn't very detailed in terms of history, so have a Plot Synopsis at IMDb. Even then, let's just elaborate a little more on Eames and his role in the film.

In terms of his pre-canon history, not an awful lot is revealed in canon, but some things can be inferred. He has worked with Cobb and Arthur before, and likely quite a few times, judging by his familiarity with either of them. Whether or not he considers them friends is a different matter, and given the nature of Eames's personality, he's much more likely to view them as repeat business partners -- not exactly with animosity, but they aren't really buddies, either. Still they have built up a significant rapport, and Eames does trust the both of them more than he would trust the average coworker. The three of them are all the best in their respective fields, they work well together, and Eames can at the very least trust them not to screw things up.

An unfilmed exchange between Cobb and Eames ( in the shooting script, page 41 ) has Eames stating that he would be willing to sell him out, despite Cobb's apparent faith in him. He's probably just fucking around, but it's quite heavily implied that his relationship with any member of the team is purely professional, and even then, since their work involves a lot of questionable activity, anyway, his loyalty probably only extends so far.

Onto the actual movie, Eames is gambling around in Mombasa when Cobb comes up and offers him a spot on his team to perform inception, which is something considered basically impossible by just about everyone in the business. Eames accepts the offer anyway, likely because of the very pretty price tag and his rapport with Cobb and Arthur -- but also because while he's tried inception once with a different team and failed, he does believe it's possible. Just exceedingly difficult.

On the team, Eames's creative, resourceful nature also means he's a key part of brainstorming their exact approach to the plan, with his unique abilities providing a certain flexibility in how the team can choose to approach the job. He thinks out of the box to find solutions to their problems, though outside of that, Eames seems like he would be more involved in his own specialized preparation than those of his coworkers, needing careful observation of whoever he's planning to impersonate. He ends up being largely responsible for at least the concept of the overall plan, given that the entire point of it is to manipulate someone into believing something, and that just happens to be what he's good at. Within the dream itself, Eames primarily serves the role of the forger, using his abilities at impersonation to ease the process of tricking the mark by pretending to be someone he trusts -- in this case, Fischer's godfather, Browning. While forgery is obviously a specialization, for him, he also functions along with the rest of the team as a regular old extractor when the job doesn't call for forging, and is more than capable of taking on trained and militarized projections.

To put it simply, Cobb ends up fucking him and the rest of the team over, pretty damn badly. He tricks them into taking a ridiculous risk that none of them were aware of ( save for Yusuf, he took a bribe ) , and Eames does not take it lightly. At that point he's basically automatically decided that the job isn't worth it, choosing to sit it out, and the only reason he continues with it at all is because Cobb's managed to get them stuck in a situation where carrying on is the only solution. It all works out well enough in the end, with Eames getting a touch of personal satisfaction in getting to see how his own personal manipulation of Fischer through impersonating Browning plays out, and the whole team gets to prove that inception is possible after all.

Cobb's eventual reunion with his family -- as well as his eventual retirement -- really doesn't affect Eames in the slightest, and it's most likely that he simply continues on with his life and his work post-movie. If not for the whole being drawn into another reality thing.

Canon Point: Post-movie, on leaving the LA International after completing the Fischer job.
Character Age: 37.

Character Suitability: HE IS VERY SUITABLE THANK YOU VERY MUCH

EAMES | INCEPTION | RESERVED - 2/3

[rocketfalls]

Personality:

"That price on my head, was it dead or alive?"
"Don't remember. See if he starts shooting."
Cobb and Eames, Inception.

Eames is one of those men who's so perfectly suited to his job that he defines his work in the exact same way it defines him -- and Eames, by profession, is a liar.

A very talented liar, at that, and in every possible way, from lying to running cons to forgery and his personal specialty of impersonation and identity theft. He doesn't think of himself as amoral or unethical, so much as someone who just happens to have talents that apply to industries that others might find distasteful, and who's to blame him, really, to using them to his advantage? He's not a bad person, but he's far from the hero of the story, either, and he's perfectly fucking okay with that. He'll be exactly whoever he needs to be at any particular moment, nothing more and nothing less, and he'd become anyone you need him to be, too -- for the right price, of course.

He's by nature manipulative, constantly on the lookout for anything he can exploit and filing it all away for future reference. By trade, he's essentially a thief, and the kind who'd shake your hand with a smile and be your best friend, if that's what it took, until one day you woke up with all your valuables gone without a single lead to follow and the creeping realization that the man already fencing off all your things probably never even told you his real name. He'd do it all without a second thought, either, because this is business, and there's no room for sentiment when it comes to business. No matter how much of a charmer he might be, the pleasant conversationalist with a sharp tongue and a curiosity to match, he's capable of being absolutely ruthless. There's nothing personal about it -- you just have to be, when it comes to this kind of shit. It's not so much that he doesn't care about people, not at all that he can't -- he can, and he does. It's just that he'd barely even hesitate to drop all of it, if he had to.

Eames is fiercely independent, yet not adverse to working in a team -- his work is impossible to do alone, really, and Eames is nothing if not professional, as capable of a follower as he is a leader. He's not about to pretend that the team is anything but a task force put together to get a specific job done, though, there's no bonding, no friendship, just a group of business partners. He thrives with that sort of unspoken agreement, that they're all in this together for now, sure, and they'll look out for each other as long as work requires it, but in the end it's every fucking man for himself, and anyone who thinks otherwise is probably going to end up dead, sooner or later. It's important to realize that there's a difference between being unafraid to leave people in the dirt behind him and actually doing it -- when he enters a contract, when he joins a team on a job, his focus is on getting the fucking job done, not on selling out everyone around him. It's also important to realize that doesn't mean he's trustworthy, because while taking a bribe to fuck over his team may not be his focus, but it's always, always an option.

Still, he's warm and personable, even if it might just be because he's a cunning little bitch who likes digging his fingers into other people's business and it's much easier to pull that off when you're sociable. He does actually like people and is genuinely curious about them, and when it comes to his co-workers, especially, when he has no need to pretend to be anyone but his own cheerfully manipulative self, and he probably spends a little too much time teasing them and pushing at their buttons just to see how they react to them, and because he can. Mostly because it's funny, though.

For all his playfulness and cheek, Eames is sharp, intelligent, and surprisingly focused when it comes to his work -- and very, very resourceful. He genuinely loves what he does, and he'll spend weeks and months getting to know every last detail about his mark. It's an art, and Eames knows it well enough that he doesn't just read people like open books; he reads them like open books, then reads between the lines, rips out all the subtext and hidden little secrets they weren't even sure of themselves and then pockets all the information for later. Everything gives something away, from the way they talk to the way they move and the way they react to everything around them, and Eames has trained himself to see and interpret every little detail. He's not a miracle worker and it still takes weeks, probably months of careful observation before he can really be sure of everything in a target's mind, but he's still able to make quick, spot-on analyses far more accurate than the ordinary person's first impression would be. While he prefers to stick to his specialties when it comes to a job, he's resourceful, creative, and capable of coming up with the kind of solutions to problems that people have difficulty deciding whether or not to label "brilliant" or "completely fucking ridiculous". It's usually some measure of both.

Eames' main weakness is probably, well, his pride. And it's not that he's too egotistical to ever consider that he might not ever be anything but the best at his job or something, but it's more that he just doesn't like being bested. Being lied to, manipulated, and otherwise stabbed in the back is something of an everyday reality in his work, something that you can take for granted, but as someone who very rightly considers himself an expert in reading people and their intentions, Eames is usually pretty damn good at telling when he's being played. No matter how good he is, no one is perfect, sometimes something slips up -- Cobb and his little three-layers-deep gamble, for example. Cobb and Arthur are other extractors who are the best in their respective fields, and Eames has works with them many times, developed a rapport with them and a certain amount of trust, enough that Eames was completely blindsided by Cobb's betrayal. His trust in Arthur remains, since it was extremely apparent that Cobb had lied to him as well, but he's unlikely to get over that grudge against Cobb any time soon, and the sting to his pride from being successfully tricked into the whole thing is probably going to stay for a while, too.

He's also one of those guys who relies on talent and instinct, and tends to skip over the technical details in the process. He has more than enough talent that this is never really much of a problem, but it's still a failing, of his -- he probably couldn't tell you much about the technicalities of dream-sharing, not because he's too dumb to understand it or something, but simply because he never found the need to. He's very aware of his shortcomings, at least -- it's one of the reasons why he works on a team, where specialists are specialists and left to focus on their specific task, and he has boring nerds like Arthur around to pick up his slack in details and specifics.

As frighteningly capable as all these people are, in dreams, their wealth of time and experience in the dream world leaves them at least a little doubtful as to where to draw the line of reality, and at worst, completely incapable of telling dreams from the real world. That's why they have to rely on little tokens, on totems, and Eames, with his poker chip, isn't an exception. He's pretty grounded when it comes to the whole reality thing, and definitely doesn't spend too much time agonizing about whether or not he needs to wake up and be somewhere else, but it's impossible to get rid of the nagging little doubt at the back of his mind. He trusts himself and his totem to be right, because he has to, because he knows that if he starts doubting that, everything falls apart -- but in a situation where his judgment and his totem are compromised, he's going to be left kind of stranded.

All in all, as long as you don't get in his way or happen to have a very nice pricetag on some valuable information in your head, Eames is a pretty nice guy. He'll have coffee with you and even do you a favor, if he likes you enough -- but don't ever fool yourself into thinking that he won't ever put a bullet through your skull if he had to, because he would. And he wouldn't regret it in the slightest, because business is business, and honestly?

You should never have trusted him, anyway.

Darcy Lewis | MCU | Reserved

[itase]

OOC Info;
Name: Stacey
Age: 25
Ways to contact: thepenguinred - plurk and aim
Characters currently played: NA

Character Info;
Character Name:Darcy Lewis
Canon Link: Wiki!
Canon Point: Post Thor, before the Avengers
Character Age: Not stated in canon. I’ll go with 22
Character Suitability: NA

Personality:
Darcy is the is more or less one of the ‘straight men’ to the whole wacky world that is the Marvel Universe. Rather than having a heroic quest like Thor, or a deep love for exploring the unknown and finding sci-fi wonders like wormholes like Jane, or even suffering from a boat load of daddy issues like Loki, Darcy is just along for the ride. She’s only working on this project for some college credits, and is the first to state that maybe picking up the crazy man that fell out of a dust storm in the middle of the dessert isn’t such a good idea, even if it is for science. Really, of all the people in the film Darcy is very likely the most grounded, simply taking the punches as they come and doing what she can, in her own way, to handle all these insane events without getting too carried away in the drama or romance.

That doesn’t mean she does so stoically, however. Sarcasm is Darcy’s coping mechanism of choice, and her dead-pan humor doesn’t seem to have an off switch, even when she is visibly disturbed by what is going on around her. Hit a guy in the dessert? Comment how it was technically Jane’s fault. Have this guy claim he’s a god and watch him smash coffee cups? Take a picture of him eating a mountain of pancakes for Facebook. Have the government steal the life work of your boss? Throw in how they took your Ipod. No matter what it is, Darcy had the sanity reserves to face it with a dry wit and raised eyebrow. Which all means, basically, that Darcy doesn’t tend to take things too seriously unless it’s life and death, at which point she does become visibly rattled, but still does what is asked of her to help those around her (like save a puppy while Loki tried to murder Thor in front of her).

While she’s generally easy going and seems to get along with just about anyone (though if they don’t appreciate her MST3K commentary on life, that’s their problem), Darcy seems content to be a bit of a loner. She’s out in the middle of nowhere with just her bosses, after all, and doesn’t appear to have made many, if any, friends with the people in the town they’ve set up shop in, preferring just to work and hang out with her bad self in the meantime. All this shows her as more of a reactionary character than an active one, as she’s fine with people coming to her, and will (with only minor bitching) go along with mad plans and schemes, but is happier with someone else instigating them. Though this, of course, doesn’t stop her from speaking her mind on any topic at hand. Complaining about a problem and taking steps to fix it are two totally different things, after all.

Powers & Abilities: Using a taser? Seriously, she’s just a normal American girl with some basic self-defense and CPR under her belt. Also a political science major.

Items on their Person: Her taser and her normal outfit.

Samples; (All samples must be set in the game's universe)
First Person Sample:

[The voice that comes over the line is more than slightly freaking the hell out, but is trying to keep the shaky quality of her voice under control as she begins to ramble.]

Okay. So. Like, when exactly did I sign my life away to the Freaky Friday for Life club? Six credits. I only needed six science credits, and my gen reqs would be done. So I go live in the desert for the summer, whatever. Snoresville, right? Uh, no. Aliens, sci-fi specials, shadowy government people in suits...now this? Really? My philosophy and what the fuck creds are all filled up, I promise. Just slip me back in the crazy machine and I won’t mention it again. No kidnapping charges, no suits for emotional trauma, zip. Just send me home.

...Please?

Third Person Sample:
The sad thing was she’d planned for this. Not the ‘your life was just The Truman Show to the max, sux2bu lollercopter’ part. Be real, who even wanted to think about some old sleazy dude watching your emotional distress for his fun and jollies? Or worse in her case, in her very personal opinion, turning out to just be a sidekick in someone else’s epic story. She bet her character didn’t even get name dropped in the sequel. Lame. So. No. She didn’t plan for that.

The zombie apocalypse thing, though? Lady please. She’d grown up in the good old US of A when 28 Days later was a smash (and not just because of Cillian peen, no matter what anyone may say). She owned a copy of both How to Survive a Zombie Apocalypse and How to Survive a Horror Movie. Discussions over shotguns vs sniper rifles vs machetes had been had and had until the vodka ran out. Darcy had figured she had this down.

Until actually showing up in one. Then? Hoo-boy. Like they said, life just wasn’t like the movies. And not only because (shock, gasp, awe) it turned out to be impossible to keep your hair perfectly light and curled and eyeliner in place when living in the middle of no-man’s land. Liberal interpretation of events were allowed in love, war, and the coming of the undead in film, she guessed. The real thing blew. It didn’t matter how cleverly she’d planned on using duct tape to secure herself to the ceiling (zombies never did seem that good at looking up, anyone else notice?), because it turned out that (sorry Republicans, wrong again) duct tape was a way more precious resource than gold when civilization bit the big one. And the whole lawn mower shtick wasn’t half as effective without a) gas, and b) some crazy upper body strength and endurance. Thor might be able to pull it off. For her? It was a life of hiding behind the guy with the biggest gun and hoping for the best.

Well, at least she had good practice at playing the smart-ass sidekick. That had to count for something in the end times.

Additional Information: NA

ACCEPTED

[jumpscare]

We are pleased to accept your application to Dead Weight. Welcome to Kingswater. You have been chosen for the Human Regenesis Project. Your starter weapon is a bullwhip. Feel free to peruse the arrival post to know what to expect upon revival.


• Please create your character journal if you haven't already, then join the following communities: deadweight (network), deadlogs (logs), and dryrot (ooc). Optionally, join our meme community, drybones.

• Comment to the taken characters page. Create an IC INBOX and, optionally, a PERMISSIONS POST within your journal and reply to the contact page.

• Once you've been let into the communities, introduce yourself on the OOC community. Join the AIM chat at deadweightchat and/or follow the mod plurk at deadweightmods, if you'd like.

Mod Note: Tony will find the Iron Man armor laying on the table beside him.

The game opens on July 1st at 12:01AM EST. Good luck in the Real World.

Caroline Forbes ♚ The Vampire Diaries ♚ reserved!

[coy]

Name: Laura
Age: 24
Ways to contact: AIM: msLmcool
Characters currently played: None!

Character Info;
Character Name: Caroline Forbes
Canon: The Vampire Diaries
Canon Link: The Vampire Diaries
Canon Point: 3.22, after Tyler 'dies'
Character Age: 18
Character Suitability: N/A
Personality:

"Look, about Caroline, no matter what her flaws are, when push comes to shove, you’re going to want that girl on your side."

-Stefan Salvatore

Like every teenage girl, Caroline comes with her issues; she can be petty, immature, insecure, and jealous. She gets wrapped up in things that don't really matter to most when there are 'bigger things' happening. Outwardly, she seems sweet, peppy, in control but of course, some of that, later on, appears to only be skin deep. Caroline has a bit of a competitive streak too, especially where Elena is concerned. It feels like, to her, that she tried so hard, and yet, Elena doesn't have to try at all and she gets everything while making it seem so effortless. She can be gossip sometimes and has an uncanny ability to find out information from any source and fast. Her 'Little Miss Innocent' act comes in handy because she's good at providing a distraction on demand despite being a terrible liar.

She knows how shallow she is and she understands that this and her tendency to be a bitchy, control-freak are two very serious flaws. She very much wants to change and work on her flaws; she wants to be "abyss deep" and her "kiddie pool" level frustrates her. She's also admitted that at times, "I'm a terrible, awful person-but I'm working on it". She starts taking baby steps towards the grand understanding that it's not all about her.

But over all, Caroline is a fierce and loyal friend. Despite the bitchiness and the shallowness, she can be just as kind and caring and sweet. She's protective of her friends and is willing to take on whatever comes that keeps them safe. She saved Matt from dying, therefore exposing her secret and herself as a vampire because she loved him and couldn't stand by and watch him die. But she also puts a lot of stock in other people's loyalty, she expects it in return. When Tyler didn't help her and the rest of the vampire gang against the werewolves, after she helped him (which is risky considering a werewolf bite is deadly to a vampire) and kept his secret, Caroline told him they were done as friends, that their friendship was over. However she does forgive him because despite it all, she understands him and cares about him.

After Caroline is turned into vampire, her personality and neurotic quirks seem to go haywire, which is standard vampire fare. To quote her from the show, "[N]ow I'm an insecure, neurotic control freak... on crack?" Although at times, she seems to be a tad more mellow, taking more things in stride. It probably helps that becoming a vampire has made Caroline a lot more confident. (And Stefan seems to help keep her calm). Though she can definitely still be high-strung like before. And with all the vampire strength and 'live forever' factor, she's not 'girly Caroline' anymore, she can handle herself.

Unfortunately even as she starts to become a more accepting and understanding person herself, she doesn't get it back from the person she really loves, Matt. He rejects her once he finds out who she is and after a series of events they break up because of it. Heartbroken about being dumped for who she is, something she can't change, it pushes her back towards Tyler, who understands what it's like to be different 'against your will'. Tyler becomes the boy she loves, they have their ups and downs, but ultimately, he's the one who'd do anything for her, the one she'd run away with.

Caroline is still really good at the whole denying her true feelings thing as well as getting petty and jealous despite growing as a person since she was turned into a vampire. Caroline always seems to remain positive and strong despite the horrible things that happen to her (like being turned into a vampire, being rejected on all sides for being a vampire, for being kidnapped and tortured more than once). She's quite confident in her vampire-ness but she's always been confident in her own way. But even when her father tortures her for being a vampire, trying to torture the blood lust from her, she accepts that she cannot change, that she can't be changed but that she has a good grip on her need for blood, that the only time she screwed up was the first time she killed. And even though she liked it, it scared her enough for her to strive to never do it again. But despite appearances, it's a struggle every day.

Caroline Forbes ♚ The Vampire Diaries ♚ reserved!

[coy]

Powers & Abilities: As a vampire, Caroline gets the usual perks of living forever and never aging, she heals faster too. She's got super human strength, speed, and heightened senses. She's got the ability to control someone, remember certain things or forget them entirely (aka compelling). Because Caroline is a newer vampire and drinks animal blood, her ability to compel (as well as her physical strength) is less effective than older, stronger vampires.

The only way to kill in the TVD-verse vampire is sunlight, a werewolf bite, fire, or a stake through the heart. Anything involving wood or the herb vervain is extremely painful and debilitating for a vampire. Caroline has a ring made by her best friend Bonnie, who is a witch, that allows her to go out in sunlight, but very few vampires have this thus helping her hide the fact that she is a vampire.

I think that a good way to limit her abilities would be that any time she tries to use her super strength or speed or healing, it weakens her for a while, maybe a few hours or she has to get blood into her before she can do it again.

Items on their Person:
Caroline would be wearing her daylight ring which allows her to be in the sun. She'd also have her purse with money, some makeup, sunglasses, one blood bag, and her tablet/cellphone. (Which I assume will probably be useless for internet and phone calls but it'd have movies and pictures on it.) Of course, that can be taken away if that's not okay with the game's aesthetic.

Samples;
First Person Sample:

[Here, have a Caroline, brow furrowed, eyes narrowed as she looks into the device.] Okay, seriously, zombies are gross. They're gooey and drippy and they smell. And they have this annoying tendency to want to gnaw on everything. [She mutters something that might sound like 'like someone else I know'. Hint: She's talking about Klaus.] Then they don't die unless you do some stupid crazy move, like stab them in the head.

[She sounds especially annoyed at that before she pans the camera to show a zombie on the ground, a curling iron sticking out of it's face. You can practically hear the glare she's giving the motionless zombie in her voice--] Do you know how hard it is to find a curling iron? [She turns the camera towards her and gives the camera a chipper smile even if her next question is the most dire and important of questions.]

Does anyone have an extra one? [Priorities, she has them.]

Third Person Sample:

This is not the way our lives are supposed to be.

She'd heard Matt say it once to himself before he… It's a mantra for her, it's been that way before all this happen, before the world went to hell, before being part of the 'living dead' and being 'undead' were two different things. And before being a vampire was far better than the fate most of her 'fellow man' had met. But life wasn't supposed to be this way, she was supposed to be Miss Mystic Falls two years running, be prom queen, head cheerleader, to rock her senior year.

Not even being turned into a vampire, being a pawn in a twisted and dangerous game were going to stop her from that, she managed. But zombies? They were kind of a different story. How could you be prom queen when everyone who'd vote for you just wanted to eat your brains?

It had been hard enough for her to smile, to grin and bear it when she'd first been turned and realized all the things she wouldn't do because of it. But she always smiled, always found something to be excited about, to throw herself into, to pretend to live a normal life, for a little while longer. The future used to be filled with endless possibilities. Now it was just plain endless. And not the good kind of endless. Full of death and mayhem, loneliness and desolation, as that handy thing called 'civilization' kinda crumbled before her eyes. And smiling is difficult when you're fighting for your life but she manages.

She should be some kind of thankful and most of the time she is.. You're being selfish, Caroline Forbes. That's the old you, not the new improved, vampy you. She could be dead, she could've been ripped to pieces, eaten like so many other countless people she's seen. Everywhere seemed dead, no pun intended, no where feels truly safe. She's got friends, if you can even call them that. It's just people, people who aren't shells of them former selves that aren't craving a brain milkshake. You don't ever get to close to each other because tomorrow you might have to shoot them in the face. It's not like the movies, where people band together and there's camping and stories, and some rando guy who's a comic relief. But laughter is as hard to come by as food or even more important, blood but she manages. Caroline's not being picky by refusing to drink from those zombies, she's not stupid, there's something wrong with their blood. Better safe than sorry.

The only real comfort she gets is when she can't hear the sounds of screams, gun shots, or the constant groan and moan of the dead as they search for a meal. Gone are the days of gossip magazines, mani-pedis, and staring at hot guys as they walk by. Now her days were filled with scrubbing blood out of her blond curls and mini-skirt and discussing the values of the double tap or various other ways to kill a zombie.

Living is hard to do when everyone else is dying and the air smells of grief but she manages.