geishawhite

geishawhite @ 2008-04-11T16:57:00

2008-04-11T16:07:20Z

PART II: Character Information
Vital Statistics
FULL NAME: Archibald Crispin Sanders. Archie, if we're going with actual names here, but he has many.
AFFILIATION: Rebel, baby.
AGE/DOB: 25;
GENDER:Male
SEXUALITY: Painfully pathetically straight.
OCCUPATION: 'Occupation' you say; Archie makes his money off the back of the Black Market, which is running healthily due to his own desire for porn and contraband making it a priority. The rest of the time, he's in Aliases.
THEME SONG: At least one song that best exemplifies the character, although multiple songs and/or lyrics are not frowned upon; the more, the merrier!
RESIDENCE: The man lives centrally, with the other Rebels. His registered addresses are many.

Appearance
HEIGHT: Five eleven.
WARDROBE: With an aesthetic that greatly resembles 'I scanned my bedroom floor and all I found was this dubiously dirty tee-shirt', Archie is a fan of the geekery tee-shirts with bits of binary code written across the front, long sleeved shirts and khakis with battered Chucks. Anything that requires effort is far too great a challenge to one who seems to be channeling
MISCELLANEOUS: Anything important that was covered in the above sections, such as freckles, birthmarks, tattoos, piercings.
PB:Callum Blue!

Personality
Equal to or greater than three paragraphs, bb.
Rebel Information
NOTE: This section is only needed if you are applying for a Rebel.
CODENAME: Rebels go by musical themed codenames. Check the wiki for suggestions.
DIVISION: Alias development. By measure of skillz with contraband, Archie is the go-to guy for Social Security IDs, passports and any other measure of suspiciously legal-looking documentations. While he has a large procrastination habit (and thus any assignment skids in under the deadline by a matter of virtual SECONDS) he tends to lock himself to his computer for the last three days, work without sleep for those seventy two hours, subsisting on caffeine and Mountain Dew, and emerge smugly triumphant with a brand new ID. He doesn't work well in teams; people either dislike working with him as he gives every appearance of being slacker-tastic, or he can't explain his own concepts to someone else. He'd have been a hacker if he'd qualified, but his online time is spent less 'practicing programming languages and command prompts' and more 'tracking down hentai on the vast resources of the interwebs'.
ALIASES: Perhaps because this is his division, perhaps because he brings in contraband, but Archie is paranoid. Paranoid to the extent of having thirteen different unique identities with socially engineered backgrounds, families and histories. He doesn't use all of them - rotates three most of the time, but ten are 'back ups' for when the Shusai inevitably attempt flaying for introducing their righteous citizens to birth control.

History
NPCs/FAMILY MEMBERS: A brief list of your character's close friends, family, and coworkers go here, along with a brief description of each. Feel free to use this as a list of in-game storylines, as well, if you'd like!
HISTORY: This is pretty same old story, but make sure to make this dynamic and all that jazz!

PART III: Plottage -- OPTIONAL!
This section is optional, but highly encouraged.
PLOT IDEAS: Before we accept you, we need to know that you plan on contributing to the game. Please give us some idea of what you plan to do with your character-any plots, subplots, storylines you'd like to see them involved in. This could be anything from getting kidnapped to quitting the revolution; whatever strikes your fancy.
SECRETS: Does your character have any secrets going into the game? Put those here. Or if you're really paranoid, you can pm your character's secret to the mod as soon as you post your application for review.

geishawhite @ 2008-03-31T08:40:00

2008-03-31T07:41:02Z

the ic
Name: Jack Caldwell
Age/Birthdate: 32, September 16th, 1976
Sexuality: Heterosexual.
Occupation: Listed on his passport is 'dental surgeon', which is true. What is not listed is 'fencer of stolen goods' which is also true, but a lesser known fact.

Fairytale: Character name and story.
Ability, if any: Remember, only animal-related tales and the ones with previously established magical abilities will have powers.
Status: Jack is as comfortable with his Tale as he is about any other piece of information that could be considered private; not very. While he'll confirm who he is to anyone who asks, he won't volunteer the information. It is like all things with Jack, a card in his hand.

History:

Yorkshire in the seventies was like Yorkshire any-time onwards from the Industrial Revolution; dirty, cold and inclined to moors that 'wuthered'. John Caldwell was the last in a line of miners; growing up, the Caldwell boys terrorised the local schoolteacher who was safe in the knowledge that at fourteen, they'd drop out of school and go down t'Pit with their father, like their father had before them, and his father before he. Like his father before him, John was inclined toward a bevvy in the pub after work, and one such evening he ran into Lizzie. There was much ribaldry from his mates as Lizzie proved to be anything but a shy and retiring sort. Filled with sass, she made it quite clear there wasn't going to be anything happening until she had a gold band on her finger, and in 1963 they got married in their parish church.

By the time Jack turned up, Lizzie was long out of love with the idea of boys; spending half the morning clearing up after the twins, Will and Jim and their father, she earnt a bit of money doing the washing and ironing for some better-off families in the area. Jack was an afterthought of a night when John had too many bevvies of a night, and Lizzie was in a loving mood.

Father part of the miners' strikes in 1984-5; he was eight/nine.

Scholarship to the grammar boys' boarding school; did not want to go.

School-days: rugby passion, dislike for cricket, softening out of his voice, being left to own devices to 'break in' the new boy, with his odd accent. Pulverising another boy, left alone from then on.

Latter school-days: half-breed; not at home in Yorkshire with his parents and blue-collar house, not at home amongst the rich boys. Being lent a smart shirt for a dinner party, a fight, blood on the collar, vow to only buy shirts of that type when he was rich.

Local antiques-shop in town; befriended the old owner, taught to recognise beautiful things. Time spent here.

University: wanted to study fine arts and work for Christies, father dismayed, steered toward banking.

Bristol: rugby, taking up fencing, successfully switching into the 'boy he'd always wanted to be'. Cultured, with a rough edge. Known as a 'nice guy' at university, took out his aggressions boxing, fencing.

Revelations: Told about the Tale world, given a Compendium. Few entries to amuse himself, then moved on.

Working in England; fell in with a fast crowd, owed money, beaten up. To make some cash, sold on some stuff he found in a local antiques shop, made some good money - started to sell on things.

Move to America; restless, need to move where self-made wasn't an insult. No pedigree, little chance of moving up the ladder.

Stock Exchange for a year, pace suited him.

Offered a placement in London, moved back 'Golden Boy'. Slept with someone's wife, place got too hot, moved back to NY.

Personality:

rough beneath the smooth

gravelly voice, thick with smoke - habit, short sentences, clipped speech. When he relaxes, there are bits and pieces of Yorkshire in his voice.

addiction to cheap cigarettes, oral fixation, keeping his fingers busy --> roll ups.

Only buying the best clothing-wise, impression is everything.

Dark humour.

Likes pretty things, can appreciate the aesthetic value - objects, women, all the same, same sort of interest -- will pass on an object to someone else with little reluctance, same attitude toward women.

Cannot wake up in the morning without tar-thick black coffee.

Tendency towards falling asleep without warning.

Workaholic

Heavy drinker, doesn't touch drugs.

Sense that he's holding back aggression; thin veneer of niceities on top.

Little patience for people.

Man's man, football, rugby, relaxed.

Woman's man; attention engaged, make her a princess, disentangle carefully, move on. Monogomous with who he's with.

Xenophobic.

Self-made, attached to his roots.

Played-By: Clive Owen

What's the relationship between your character and their tale? How do they channel their role, and how comfortable are they with it? This part is to make sure you have a loose grip on both your character

geishawhite @ 2008-03-20T07:40:00

2008-03-20T07:42:20Z

Appearance
HEIGHT: 4'8"
WARDROBE: If it comes with a tag saying 'dry-clean only' or 'delicates', it should be banned from Edie's wardrobe. She is a fan of all things brightly-coloured; if it clashes, so much the better. Combining turquoise and scarlet, pink and orange, tie-dye and Kool-Aid stains, she is essentially unbiased in her enjoyment of all things that require sunglasses to look closely at. She's happiest in worn clothes; tee-shirts that have been worn so long that they sag and the lettering has faded, jeans that have gone at the knees from too many falls from the monkey-bars. Whatever it is, it's going to get ripped on the next trip up a tree, so it can't be particularly valuable. That's not to say Edie doesn't have very definite opinions about what she will and won't wear; pastels are out. Dresses are pretty, and all very nice, but if she can do a ten minute stint in one without a) spilling stuff down it, b) tearing it or c) getting food on it, it's impressive. Edie will probably grow into being a girl, and does enjoy minor preening but it gets dull when there are places to explore, things to do, and so forth. It's worth mentioning that while her straight brown hair is fine, and easily untangled with judicious use of brush and comb, it is stubbornly resistent to containment. Braids and ponytails fall out within hours.

MISCELLANEOUS: There are myriad scars just behind her ears, not seen a great deal unless her hair is lifted off her neck to expose them. They run the gamut from faded white to livid red; the battle-marks of series of operations. Edie is a little self-conscious of them when attention is drawn to them, but it doesn't plague her. She has other scars, after all - from falling headfirst down a flight of steps (literally, not 'child abuse') amongst others. Furthermore, she always has scabby knees; it is quite probably a good thing she isn't a fan of skirts.

PB: Bailee Madison

PERSONALITY:
As a small child Edie spent the grand majority of her time in a hospital ward, locked into a world of silence and little communication. She became clingy and cuddly, very attached to the people she knew and distrustful of those she did not. The operations were extensive, frightening and invasive, resulting over-all in a child of four being babied comprehensively, and blanketed in a swathe of metaphorical cotton-wool. When sound was introduced into Edie’s world, it was both startling and freeing. The little girl’s personality, emboldened by that early safety, began to show through.

She likes sound. A lot. Whether it’s a combination of the vibration as well as the sound itself, music around Edie is always cranked up to an absolute maximum, and if it can be loud, and crashing and tumultuous, so much the better – she takes real joy in it. She also likes creating it, too. Edie has not heard of this thing called ‘indoor voice’ and spits on the very concept of what it might be. She is loud, exuberant and is continually reminded that perhaps other people like not being deaf, too. Likely to rattle off full-pace, and at top-speed, the impression around Edie is of someone who is trying to pack in as much as is feasibly possible into each passing second, and the end result is usually a headache. She has a habit of singing tunelessly to herself, or humming wherever she goes – an alarm bell for all people in the immediate vicinity that do not wish to experience an Edie-attack. Expressive in the way she speaks, she’s equally so in the way she communicates. Emotions are as transparent as glass on her face; diving between the agony and the ecstasy of life, there is no mundane in Eden Wells’ life. Capable of fierce heights of drama in her flamboyant little existence, vegetables are not only inconsumable, they are vicious, spiteful poison sent directly to her plate to KILL her. That cookie she really really wants? Would SAVE HER LIFE. Etc.

While the girl is a fan of colour, she’s equally colourful herself. Edie’s imagination is rich and vivid, a by-product of a youth spent in her own head. Life should be exciting, it should be as interesting as a story itself, and Edie has a hard time with the distinction between ‘embroidering the truth’ and ‘flat out lying’. Fortunately for those around her, wide-eyed protestations of innocence are usually a fairly good indication that she’s anything but. Her play is explosive, not content to be a princess, she is a princess-knight-witch, saving the world from dragons, and robots and whatever was on the news last week, and involves everything. Energy is not lacking in the slightest.

Edie finds sitting still and behaving herself to be incredibly difficult; why walk when you can run, why run when you can skip, why skip when you can dance? If she absolutely has to stay still, then she’s wriggling, or tapping a foot, or twisting hair around her fingers, but ultimately, the allure of movement is all too much and she forgets herself far too often. With reckless enthusiasm and perceived invulnerability, she can be found flinging herself into activities with an abundance of zeal.

That accompanies a certain talent for causing accidents, and a decided lack of caring about them. Edie has had more headlong falls from the monkey-bars than is feasible for a child of nearly ten; she has crashed into walls, fallen down stairs, and is quite possibly banned from fire-starters of any kind after an incident involving matches, and nearly waist-length hair on a seven year old. Edie simply overlooks the relative safety of a situation before throwing herself into it, and is quite unperturbed about dripping blood as she carries on careering about the place.

While her self-inflicted accidents are not deliberate, she is mischievous. First one to come up with pranks, first one to carry them out – but also first one to giggle uncontrollably as the intended victim looks set to be affected, and thus has warned many a hapless recipient. Any acquaintance who is too ‘boring’ needs livening up, Edie-style, and whether this involves coaxing them to eat a dead worm under the pretext that it’s a new type of marshmallow, or dropping a spider down the back of their neck, or simply burying a shoe in the park and trying to create the appearance of someone buried beneath the earth, is entirely up to how they take it.

While she’s prone to laughing at life in general, Edie’s also highly affectionate. The early attachments and mistrust she had in life have left her, but some residual ‘claiming’ of people still occurs, particular persons who she is very much attached to. Free with her general affections, however, Edie bestows sticky hugs and kisses on whoever merits them.

While generally a tomboy, far more keen on practicing battle-cries and soccer kicks, Edie does manage to be girly occasionally. Limited to small bouts in pretty dresses, momentary wistfulness when other girls can be quiet, and sweet and gentle and enjoying brief, brief moments of pampering or primping, there’s an element of relief once she’s escaped feeling princess-y. Ultimately, she’s any little girl with a taste for joie de vivre. Every element of her personality is aimed at extrovert-like behaviour. Except for that one little side-effect.

Edie’s powers have been used before. She does not like the serious use of them; while her memories of the events are always vague and accompanied with a frightening lack of sound, she will never forget images of people slumping forward, grimaces of pain – and under stress, is prone to nightmares of her memories. As a small child, she was generally placed under emotional heavy stress to invoke it, and therefore the association between ‘use of low tones’ and ‘bad, bad, horrible’ is high. She’s likely to become very quiet, timid and uncertain when in situations it might be used, and for at least the following week, until her mind thankfully absorbs and blocks her from dwelling on it, she is a very different child indeed.

Project Information

Extraordinary Decibel Influence

ABILITY: Edie has the dubious pleasure of a dual voice-box type mechanism. A small flap in the throat combined with the bio-engineered ability to manufacture extreme levels of sound allow her to be talking normally, and also producing a high or low level of sound that, while inaudible, can break things, cause nosebleeds - or in severe situations, death via internal bleeding. Able to control the frequency, pitch and pattern of sound-waves, Edie's tonal control is relied upon to regulate its use; as a baby, serious distress could trigger the use of the ability and still in fact, if she becomes extremely anxious the likelihood is of the windows blowing out. While this could be considered a serious liability, the truth is Edie is extremely useful. Putting a child into a situation where she can be colouring, and then a full grown man collapses to his knees, dying of internal haemorrage with no apparent cause of death, mess-free -- is somewhat of an advantage. Edie hates doing it, and is far more likely to cause accidental nose-bleeds or stress metal.

DISABILITY: Edie was born profoundly deaf. In the process of altering her voice system, it occured to the scientists that perhaps inbuilding a security system so that their specially-engineered Project wouldn't die herself in the process, might be an idea. Unfortunately, fetal-intereference resulted in the cochlea being almost destroyed. For the first four years of her life, Edie was shut in a world without sound - making it even harder for her to learn to control the sound-waves when she couldn't hear to regulate them. She had operation after operation, spending the great majority of early childhood lying in a hospital bed as the Shusai worked on her hearing. While they replaced the inner-ear with something that worked perfectly --- they took advantage. In-building a safety feature, switching 'on and off' deafness to allow Edie some measure of safety whilst operational, they left the control of that entirely in their own hands. It is essentially, a way of filtering her information. Additionally, her hearing is mechanised, hooked up to the Shusai. They can, if they so choose 'listen in' to anything she can hear -- and rewind the metaphorical tapes to listen to it whenever they like. A human bugging device, this has affected Edie so much that she 'hears' moments out of sync. With the onset of hormones linked to puberty, this rigid control however didn't take this into account, and the likelihood of sudden onset periods of deafness is highly likely.

History

NPCs/FAMILY MEMBERS:
Ami: Mini-spats, girly-girl versus tomboy.

HISTORY: This is pretty same old story, but make sure to make this dynamic and all that jazz!

PART III: Plottage -- OPTIONAL!
This section is optional, but highly encouraged.
PLOT IDEAS: WELL. There's the whole 'I kill people' versus 'I listen to people' thing. Being used as an unsuspecting bug might work, particularly to inspire um. Total shit-storms. Also the deafness thing kicking off, plus the idea of the Shusai/versus Syndicate upbringing, whether or not she'd move into anyone's particular control.
SECRETS: Does your character have any secrets going into the game? Put those here. Or if you're really paranoid, you can pm your character's secret to the mod as soon as you post your application for review.

geishawhite @ 2008-01-10T02:29:00

2008-01-10T02:39:42Z

Ohhh, how much do I love Fairly? I seem to fixate on a character at a time in ~rotation~ and at the moment it's Alex. I think what I love is he is deeply, deeply flawed but a lot of the flaw has to do with how he does relate to his Tale, and how he relates to people around him. His Tale essentially dictates the attitudes that make him an ass, but also why he does have values and integrity way deep down - and when he does try and disassociate from his Tale, it's the integrity he moves away from, so Alex primarily sees Shahryar as a good king and man rather than a womaniser, which is actually Alex himself.

<lj-cut text="Cut for rambling about Alex in general">

Essentially he's young, and he's deeply wrapped up in 1001 Nights. He doesn't want to be 'rescued' from it - which seems on the surface to not wanting to leave his womanising/sleazy, free-n-easy life behind - but it's more because if he does surrender, and buckle down and be with One Woman, he's got nothing left. The Tale was over when Shahryar settled down, and Alex has been Shahryar for so long, he can't make the separation - life would be over if the Tale ended. His history reflects the Arabian Nights, his attitudes, the way he was brought up and born, and his 'skill' with girls - even the things he's good at in life, so no wonder he can't detach himself from that.

The thing with the kid is interesting, because it was an originally, 'what happens if a sleazy guy gets caught out?' But for Alex it's so much more than that. It's outside his Tale, it's outside his limit of experience, and he is freaking out about it as both an ending to his life, and an ending to his Tale - as if by living outside the Tale-dictated patterns, he is ending its existence. It's the same with the stuff with Bee ...which hasn't happened yet, but will. It's a repeat, a pattern which doesn't ~fit~ and something he can't control, or fit back in.

It'll be interesting seeing how Velvet fits into all this, because he's going to protect her from the better part of Taledom, but it's also a part of Shahryar he loathes, a weakness. So in a sense, he's looking for her approval because it's pretty much inbuilt, but he's also looking to break from it because she represents 'The End'.

My boy will grow up eventually.
</lj-cut>

The problem with RP is it utterly destroys my ability to write. I miss the feedback intensely from RP; I know that people with writing groups and writing partners get on better, and I would love to get into that sort of dynamic, because - someone being interested and bouncing ideas is what drives me to keep going, to keep churning out the words to draw someone in. But I have no idea how to find that, and it generally requires a writer who writes similar stuff.