havenmods | Applications Two

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applications

Applications Two

APPLICATIONS ARE CLOSED!
The next application opening date is Friday 16th January, 7pm EST.
The next application processing date is Friday 23rd January, 7pm EST.

IMPORTANT: PLEASE POST YOUR APPLICATIONS HERE ON THE NEW APPLICATION PAGE

We're so glad you're thinking of joining us in Haven, where we are all safe.

In order to apply for a canon character, please fill out the information below and post it in a comment in this entry. For an OC, please apply using the OC information. Please do not link to applications, all applications must be posted here. Please do not delete your applications; if you do not want it to be seen, you can request for it to be screened after a decision is made.

You may apply for two characters every application round, to a total of six characters. Only two of these may be from the same canon, and they cannot be too familiar with one another. Please make sure to mark the header of your comment(s) with RESERVED or NOT RESERVED, as well as the character name and canon. App challenges are not allowed currently.

Try to remember spelling and grammar are important, and in app length quality and not quantity is what matters. All parts of the application must be your own work, plagiarism will not be tolerated, though you are welcome to reuse your own old applications.

If you are asked for revisions, please don't panic! It doesn't mean the mods don't like you, only that we probably need more information before making a decision. If you are asked for revisions, you will have one week to supply them.

Applications are open on a monthly cycle, where they will be opened on the second Friday of every month for a week, and then processed on the third Friday of the month, before being closed again.

We now have a test drive community at haventest which is continuously open. Posts there may be used in lieu of a sample in the application. You may also link posts, logs, or threads from other games and memes in lieu of samples, though we ask that they be no more than one year old. As of November 22nd 2014, samples cannot be "where am I" intro posts. The reason for this is that we often find it hard to gauge characterization from those, as most people when immediately in a new surrounding are confused or frightened.

While we encourage players who have dropped to re-join us, we do not encourage the continual rapid dropping and re-apping of the same character in a short time period. You are welcome to request specific housing, and all attempts will be made to accommodate that request, but it may not always be possible.

To see what we are looking for:
Canon Characters:
Sample Application (Faith Lehane)
Sample Application (Iroh)

Original Characters:
Sample Application (Mors)
Sample Application (Vera de Barr)
Sample Application (Malkus Iverwelling)

Previous Game History:
Sample Application (Abel Nightroad/Mayfield RPG)
Sample Application (Bolin/Discedo)

The old application post can be found here if you would like to look through past accepted applications.

Applications will be open on the following dates (from 7pm EST):
12th-19th December
16th-23rd January

Applications will be processed on the following dates (at 7pm EST):
19th December
23rd January

To apply for a canon character, please fill out this form:
Name: Your name or nickname Contact Info: Email, plurk, IM... as long as there's a way to contact you, it's fine! Other Characters Played: Any other characters you play at Haven. Requested apartment: Please put N/A if you have no preference. Character Name: Names and nicknames, in Western order (first name, surname) Canon: Canon Point: Where in the series are you taking them from? Background/History: A link to a source about the canon is fine for this. Previous Game History: At least two paragraphs on important events for the character and how they have been shaped by the previous game. If this is not applicable, please delete this section. Personality: This is the most important section! There is no specific word count, but anything less than three paragraphs likely isn't detailed enough. Abilities/Powers: Please assume canon-blindness and explain in as much detail as possible. Items/Weapons: Which three items and/or weapons will your character arrive with? Sample Entry: At least ten sentences in first person/action bracket format, please. A link to a previous post or thread with the character is also acceptable. All links must be one year old or less. Samples submitted may not be in the form of a "where am I" intro, as these are hard to judge characterization from. All other scenarios are welcome. Sample Entry Two: At least two paragraphs in third person/prose format, please. A link to a previous log or thread with the character is also acceptable. All links must be one year old or less. Samples submitted may not be in the form of a "where am I" intro, as these are hard to judge characterization from. All other scenarios are welcome.

To apply for an original character, please fill out this form:
Name: Your name or nickname Contact Info: Email, plurk, IM... as long as there's a way to contact you, it's fine! Other Characters Played: Any other characters you play at Haven. Requested apartment: Please put N/A if you have no preference. Character Name: Names and nicknames, in Western order (first name, surname) Background/History: At least three paragraphs, please. Try to focus on events in the world history that have had an impact on the character. Previous Game History: At least two paragraphs on important events for the character and how they have been shaped by the previous game. If this is not applicable, please delete this section. Personality: This is the most important section! There is no specific word count, but anything less than three paragraphs likely isn't detailed enough. Abilities/Powers: Please explain in as much detail as possible. Items/Weapons: Which three items and/or weapons will your character arrive with? Sample Entry: At least ten sentences in first person/action bracket format, please. A link to a previous post or thread under a year old with the character is also acceptable. All links must be one year old or less. Samples submitted may not be in the form of a "where am I" intro, as these are hard to judge characterization from. All other scenarios are welcome. Sample Entry Two: At least two paragraphs in third person/prose format, please. A link to a previous log or thread with the character is also acceptable. All links must be one year old or less. Samples submitted may not be in the form of a "where am I" intro, as these are hard to judge characterization from. All other scenarios are welcome.

Threaded | Top-Level Comments Only

Character Name: Nagisa Shiota
Canon: Assassination Classroom
Canon Point: chapter 81
Background/History:
General Series Information
Character Specific

Even though he's a main character, not a whole lot has been revealed about Nagisa's background and history beyond what we see of him in series at school. He lives at home with mostly his mother, who has been referred to as 'strict' though he seemingly has a decent relationship with her. His father is frequently traveling on business and when he does get the opportunity to spend time with his son they get along quite well.

Nagisa was originally able to test into Kunagigaoka Middle School, one of the top schools in the country. However, he wasn't able to keep up with his studies enough in the strict system, and his grades ended up falling enough that he was placed in the E as in 'End' class. Aka the class for all the people with the worst grades. They are stuck in a rickety old school house far from the school's main campus and not only are they severely bullied by the other classes, it's encouraged by faculty.

Of course secretly E class is also being trained BY assassins to become assassins. Together they have faced AI programs, professional hitmen, crazy military members and artificially created super creatures. One of which is their teacher. The same teacher who destroyed 70% of the moon and threatens to destroy the earth by the time the class graduates unless someone can kill him first.

It's not that easy for a middle school student, even a whole class of them, to assassinate a super being. So a professional from the government, Karasuma, has been instructing the class in marksmanship, knife fighting, free running and a variety of other skills that any proper hitman would need to know.

Personality:

Nagisa has three goals he would like to achieve. First is the befriend each of his classmates. Second is to live a life without regret. Third is to assassinate his teacher. While one of these things is clearly not like that others, all three are very key traits to his character.

Generally he's a friendly young man who is easy to get along with. He genuinely wants to be close to his classmates, and is willing to give even the jerks and the assholes second and even third or more chances. This only extends to Class E though. If someone from another class were to threaten or mock either him or a classmate, well let's just say he can assist in creating some truly devious revenges (for instance he was involved in helping get back at his classmate's super bitch of an ex. He distracted her and her new boyfriend while another classmate slipped the 'Victoria Falls' laxative in their drinks). He's not also above casually making threatening statements to bullies to get them to stand down.

That's not the end to a bit of a sadistic streak Nagisa exhibits from time to time. He does enjoy teasing and is absolutely not above blackmail. In fact gathering information and observing (or just rifling through someone's desk) is a bit of a specialty of his. He's pretty much the go to guy whenever someone's looking for information on their target's weaknesses as he usually keeps detailed notes of anything he thinks may be important.

He's somewhat quiet when compared to some of his more outspoken classmates. This isn't to say he's SHY. He's never really nervous around people, even strangers, and has no problem telling friend and foe alike precisely what is on his mind. He's just more subdued. He's not prone to loud outbursts and never brags. He simply says what is necessary.

He's also relatively chill and out of the whole class he seems to have the fewest hangups about being in class E. He acknowledges that, yeah, the E as in End class isn't exactly the best thing, but there's really no way to go back and change what's in the past. He's determined to just keep on doing what he's doing the best he can, and live for the future. He's also very relaxed around pretty much every personality type. One of his best friends that he's known for at least three years is a violent and aggressive student named Karma. While Karma's excessively extreme assassination attempts and desire to kill a teach, any teacher, shock and alarm the class, Nagisa treats it as if it's the most normal thing in the world.

This is the first hint that Nagisa isn't completely... normal. Unlike other students he never shows hesitation when attempting an assassination. In his own words he approaches his target just as normally as if he was walking to school. Which is a good thing as secretly he has a lot of bloodlust and an overpowering killing intent. His ability to completely hide this up until the very second he needs to strike frightens even professional assassins and military personal. He even feels completely comfortable wielding real weapons against a real opponent or the first time when it's pointed out that even most grown men will get nervous or freaked out the first time they're put in that sort of situation.

He's also shown that he's very capable of killing someone very easily in the right circumstances, and one point it took someone actually yelling at him that he shouldn't become a murderer when they have a more important assassination to do (their teacher Korosensei that is). Even his goal in helping assassinate Korosensei isn't exactly the 10 billion yen reward that's being offered. He wants to assassinate him simply because he believes it's something he will eventually be entirely capable of doing.

It's a little unclear as to why or how Nagisa is this way. Only a few glimpses of the extent of his bloodlust has been shown. He's not a sociopath as he has honest and warm relationships and cares a whole lot about others. His homelife and upbringing are still mostly unknown but nothing has been mentioned yet that hints at some sort of dark and troubled past. A few of the teachers seem to just see Nagisa as having the perfect sort of personalty for an assassin but explanations beyond that have not been made yet.

Edited 2014-02-28 06:24 (UTC)

Abilities/Powers:
Weapons Training: Nagisa has had extensive training in using guns (both pistols, assult rifles and sniper rifles). He's the fifth best marksman on the boys side which puts him a little above average. He's nowhere near the sniper skills of the top student but when firing off a few rounds he can still get a nice grouping near the center of a target. Likewise his knife skills fall somewhere just slightly above average in his class.

Bloodlust: Noteable as Nagisa can disguise his killing intent (and sometimes his presence entirely) right up until the moment he's about to strike them. Then or just a few brief seconds when it's 'unleashed' his targets tend to hallucinate a giant blood soaked viper about ready to bite coiling around them.

Agility: While most of his physical abilities have been compared to be not much better then a girl's he is actually quite nimble and can easily maneuver around bigger and very dangerous opponents to try and get a more favorable position. Also like most of his class he can easily scale things like cliffs, trees and walls that normally would seem either impossible or very difficult to do so. Recently he's begun to learn the basics of free running as well.

Items/Weapons: Combat knife, stun baton (both of these he has experience with), his assassination/weaknesses notebook

Sample Entry:

Hi! I'm new around here and I thought it'd be good to get antiquated with as many people as I can. It sounds like this is a pretty dangerous place and friends are always good to have around.

[ Because he was honestly interested in making friends. He was a fairly social person and while he was never the life of the party, he always liked being at the party. But he also wanted to gently probe out who might possible cause trouble. ]

Maybe you could tell me a little about yourself and I could tell you about me?

[ Below the line of sight of the camera he flipped a small notebook open and clicked his pen. Just in case anything interesting or relevant that he wanted to make note of popped up. He didn't think he'd fine anything particularly interesting out here... but you never knew. Though there WERE other sorts of information he could collect. ]

Or maybe tips for newcomers?

Sample Entry Two:

Just because he wasn't home didn't mean Nagisa should neglect his training. In fact, with the things some people had told him about it was probably even more important to keep up with it. Things sounded like they could get very dangerous very quickly.

He thought about asking i anyone had combat or stealth experience, but he wasn't sure he wanted anyone asking him questions about the skills he already had. He wanted to get to know someone before they figured out he was an assassin. Well, one in training at the very least. Besides there were plenty of things he could do on his own. Karasuma-sensei had just introduced the class to free running before he found himself here, and there were enough building and piles o rubble that used to be buildings laying about that he he had more then enough obstacles to get over.

Unfortunately he was still very much an amateur. He managed to get UP the building and onto the roof. He got going at a good speed and cleared one jump of a couple feet... except his foot landed on a partially crumbled edge. Time seemed to slow for a moment as he felt himself falling backwards. And then he connected with something (someone?) other then cold hard pavement.

"Ah! Sorry!" he hastily tried to detangle his limbs from his surprise landing pad. Hopefully they wouldn't be too mad. Or ask too many questions, "You're not hurt are you?"

Name: Ena
Contact Info: alchemical @ plurk
Other Characters Played: Alphonse Elric, Crona/Ragnarok, Cain Knightlord, Vash the Stampede
Requested apartment: n/a

Character Name: Carlos "the scientist"
Canon: Welcome to Night Vale
Canon Point: Cassette
Background/History: Canon and character

Personality: If you were to listen to the official voice of Night Vale, you might be inclined to think Carlos some sort of God among us - with his perfect hair (if a touch prematurely grey at the temples), his oaky voice, his square jaw, and teeth like a military cemetery. But the official voice of Night Vale is somewhat biased, being a man in the throes of slightly obsessive puppy love.

The first, and most important, aspect of Carlos is that he is a scientist. It's no mere job to him, it's literally his life. He finds a way to bring back almost everything he has to say to science, and will often side step around awkward or embarrassing personal moments by phrasing them "scientifically speaking". It's not clear where he gets his funding from, or what exact type of scientist he is, but he's always on the forefront of each of Night Vale's new terrors or oddities to investigate them and try to find answers. He finds a way on his very first date with Cecil to incorporate science, by inviting Cecil along to conduct some experiments on trees. It's also noted in throwaway comments later, that he still hasn't quite learned that he needs to "call before cancelling date plans to do science". Yes, it's quite clear, this is a man heart and soul devoted to science.

When he first arrives in Night Vale, on the day of the first broadcast, it's because of his interest in the town itself as a scientific anomaly that needs investigating. At first, he's one of the lone voices of sanity among a sea of crazy goings-on, and it's clear from his first few encounters with the populace that as well as being interested scientifically, he's also a good man who feels concern for the people around him. He's often seen trying to warn the public about dangers around them, and trying to get the word out via the radio show. Somewhere along the line, he loses that spark of normalcy and begins to accept the odd things occurring in Night Vale - this is shown most clearly when he doesn't bat an eyelid at the appearance of a mountain with a blinking red light on the top, surrounded by a vast plane of bones, along with an advancing army. Far from running into the street to warn everyone, he nonchalantly explains it's a mirage and he's seen it before. It's not clear whether this gradual de-sensitisation to the horrors and strangeness of the town is due to the town itself infecting him in some way, or by simple time and exposure.

It's more likely time and exposure because, while most citizens seem content to merely report on their surroundings and go about their daily business, he still retains his scientific curiosity into why things are this way. And even if he accepts things more now, he still will do his best to try and help if he can. He can even be quite brave, ignoring the perils to his own safety in order to either investigate or warn the public about something. The clearest example of this is during "One Year Later", approximately three months ago by his current canon point, where he physically climbs down into an underground city to prove that it's only a miniature one and not a very large one at a very long distance.

Finally, we come to Cecil and their relationship. He's stated that he "always" listens when Cecil is on the air, so he must have known about the host's not at all subtle crush on him from the start, but he made no allusions to it. If anything, he went out of his way to make sure Cecil knew he was always calling "for non-personal reasons". It's not that he didn't like Cecil too, but he's much more reserved and awkward when it comes to feelings of romance. It's only after his near-death experience, and being saved by the Apache Tracker, that he finally gets up the courage to admit he reciprocates in those feelings. Now that they are dating, he's an odd blend of that unsure awkwardness, and taking the initiative. For example, he's heard a few times on the phone to Cecil, or speaking with him in person, and he often rambles at a tangent (scientifically, of course) because of being unsure how to express his affections, and he can be a little oblivious as to how to balance a relationship with his work. But on the flip side, he is the one who initiates their first kiss - true, it's because he's just disappointed Cecil by saying "scientists are self-sufficient" - but he still does it. And he's also the one that takes the first step into looking for a home for them to move to together, first scoping out a condo for them to share (apparently a bad idea), and then outright asking Cecil if he wants to share a home with him.

He'll be fascinated by Haven, as it clearly holds a lot of the same anomalies as Night Vale, while offering up a plethora of new ones to investigate. It's just a shame his team of scientists is nowhere to be seen...

Abilities/Powers: Carlos is a normal human being, he has no supernatural powers. Unless, of course, you count the power of SCIENCE. He seems incredibly intuitive when it comes to investigating paranormal events, somehow managing to determine a house that 'doesn't exist' and other such phenomenon.

Items/Weapons: A dress lab coat (for fancy occasions), a business lab coat (for business occasions), and a small case of scientific doo-dads (including a couple of beakers, some pipettes, a bunsen burner, a tiny tank of propane gas, and a danger meter (which will be wiped clean of numbers and so useless)).

Sample Entry: First person sample

Sample Entry Two: Carlos stood on the side of the well and looked down at the people (all two of them) who were gathered around. Perhaps it's not a crowd such as usually turned out in Night Vale when there was something of scientific interest to be seen, but two people was enough. Two people could spread the word of his findings, when he actually found something.

"I've been thinking about the water."

His eyes light up with interest, as they always do when he's discussing a new phenomenon or oddity. His oaky tones carry out passionately to the two, probably not very interested passers-by, who most likely just want to fetch water without listening to somebody ramble on.

"Assuming that we all exist in this time and place, which we very well may not, then the water must also exist in this time and place with us. It must, or we would not be able to gain any sustenance from it... of course, if we're not real and don't exist, then there's no reason the water would be either. However, working on the hypothesis that we are real, then there must be water at the bottom of this well shaft. But I have been conducting experiments of a scientific nature, and I haven't detected the presence of any underground reservoir or river which might be supplementing our supply."

He pauses and ties the rope usually used to lower the bucket down around his waist, and settles on the rim backwards as if abseiling.

"I'll go down and investigate myself!"

Thank you for applying to Haven.
Your application is in the queue and will be processed on 28th February.

Name: Melissa
Contact Info: melplayspersonal (DW journal) , Melcat33@aol.com (e-mail), KawaiiUsagi33 (AIM)
Other Characters Played: N/A
Requested apartment: N/A

Character Name: Yarne
Canon: Fire Emblem : Awakening
Canon Point: Post Paralogue 13
Background/History: Fire Emblem Wiki!
Personality: Being the last of your kind sucks, let’s just get that out of the way. As far as Yarne is concerned, his survival must come at all costs. He is constantly worried that someone or something will wipe him out, so it’s not too surprising to see him flee from battle when things get too tough. Often he’ll make excuses to prevent himself from entering battle. His self-confidence is very weak because of this. He knows running from battle and relying on the protection of others is pitiful, but at the same time he can’t force himself to be as strong or as brave as the others in the army. Many times, his self-loathing and his cowardice will go to battle in his head over what is the right thing to do.

As such, he hates it when he’s called out on his cowardice, because he knows they’re right. He will try to defend himself initially, seeing as it’s his duty to ensure the taguel race somehow lives, but this argument also sounds weak to his own big ears. He is very proud of his parents and of his race, right down to even thinking his species looks better than humans. As a result he doesn’t like being treated like an animal or a pet. He can also be a bit of a pessimist if things keep going the wrong way, and he wonders if he ‘deserves’ to be a taguel.

However, when push comes to shove, he can be a very strong and loyal fighter. He does care very deeply for the few friends he has, and he is willing to risk his life to save them. At times his guilt and fear go so extreme that they go backwards, in that he hates himself for his fear so deeply that it turns into defiance and he finds the will to fight, so he can better improve himself. He wants to become a better man, a better taguel and give the taguel line another reason to be proud. Sometimes he’ll try to train himself in order to become this way, though eventually his old fears will relapse, and he’ll practice hiding.

Abilities/Powers:
As a taguel, Yarne has the ability to transform into a giant rabbit-like monster. In this form, he is much stronger and faster. He can jump onto enemies and crush them with his body, or kick them with his massive foot. But the effects are temporary, and if the stone breaks, he can’t transform.

Items/Weapons: Beaststone (So he can transform), Elixir and Concoction. The latter two are simply drinks to restore health and energy.

Sample Entry: In which the heroic future children are so very mature.

Sample Entry Two: It was said in times of old that the taguel prayed to the moon for guidance. Yarne couldn’t sleep that night, and as a result he found himself outside of the tents, staring up at the same moon that no doubt his mother had stared at years ago. Did this bring her comfort? Did this ease her fears? He sat down on the ground, hugging his knees. He was old enough to know by now that praying did nothing. There were no gods or goddesses to save their world from the Fell Dragon Grima.

So he didn’t pray to the moon. He closed his eyes and thought of his mother, who would have licked his ears and told him to go back to bed. This was the image he prayed to, the only one who could give him the strength for the next day’s battle. His breathing evened out, and he smiled at the fond memory. Normally his fears would tell him that sleeping outside would be a death trap. Well, then, he wouldn’t sleep. He’d just close his eyes for a few minutes. The mother in the moon would watch over him.

Thank you for applying to Haven.
Your application is in the queue and will be processed on 28th February.

Name: anais
Contact Info: louves @ plurk
Other Characters Played: n/a
Preferred Apartment: none.

Character Name: Delphine de Polastron

Background/History:

WORLD BACKGROUND

Delphine is told a great many stories as a child, but they all seem to have one ending: the princess marries a prince, and they live happily ever after. Sometimes it’s actually a duke and duchess, or a comte and comtesse, but the general notion put forward is that one day she will be expected to wear a decadent white gown and recite vows in a church to someone dark, handsome and rich.

It’s a message that tends to conflict with the otherwise liberal upbringing she’s given. Delphine is the youngest child of five, and the only one from her father’s second marriage. She is spoiled by siblings and nannies alike, but is never quite allowed to forget the expectations that come from being part of an eminent family. She is taught as though she were expected to attend university, and yet it is always stressed that her most important traits are her looks and refinement, cultivated with ballet lessons and a piano teacher. She grows up thinking that the world is by and large full of good, kind, and heroic people, and a nasty war breaks out to shatter her illusions.

They say not a household in France is unaffected by the trauma of war, and that applies even to Delphine’s. Her two eldest brothers go off to fight, with only one returning by the armistice. Her sister, the oldest of them all and a married woman already, occasionally visits the house, dressed in her nurse’s uniform. Her parents spend their time solemnly discussing news of the latest tragedies, whilst Delphine and her brother Jean are fascinated by soldiers—he would like to be one and she would like to be romanced by one.

She’s sixteen when the army parades through the streets of Paris to the tune of a victory march, and it’s that same year that she catches the eye of François de Polastron at one of the social events she is only just now being allowed to attend. Sixteen when she decides she has fallen in love with him (as though she understands love and all that it entails), and seventeen when he proposes to marry her, and she accepts. He carries the title of prince, is the thing—a throw over from the first empire—and though the events of the decade appear to have cemented that times are hard for the aristocracy (and despite the fact that they do live in a republic, after all), Delphine is infatuated by the idea of being called princesse. It’s not the ideal reasoning that one should have to marry someone, and it’s certainly not the reason she extolls when she goes about convincing her parents of their compatibility, but that is a lesson she does learn, eventually.

As for François, his own motivations centre around an arguably predatory attraction to Delphine, given the difference in their ages, and the fact that she does bring money into his family coffers. Married life begins awkwardly, perhaps, as Delphine moves from the bustle of the city to a large country estate, but soon grows… disappointing.

For one, he isn’t the prince she thought he was, which isn’t too surprising, because that prince existed mostly in her own fantasies. She discovers several things about him over the course of a year—that he has had a mistress longer than he has had a wife; that he doesn’t care much for her conversation; that he doesn’t like going out to Paris; that he can be awfully possessive when he wants to be. Of herself, she learns that she was never made for life in the country, and spends most of her time wandering around the grounds of the estate, wishing she were elsewhere. Her siblings—Jean, specifically—visit from time to time, but though she talks about the anxieties that come from being a young bride, she never quite manages to speak about the full extent of her problems.

She’s frustrated, she’s bored, she acts out; indulging her whims by driving off to the city and meeting up with old friends who seem to be having a much better time than her. As for consequences, treating her in the same way one would a petulant child (which is not to say that her behaviour necessarily contradicts such a judgement), François cuts her off from those he considers bad influences. She’s grounded, effectively—no going out to Paris, no parties, no drinking, no flirting with handsome young men she isn’t married to (let alone talking to them, really)—and being stuck in the silence of the old house begins to grate on her already frayed nerves, very quickly.

When Delphine first hears the voice, she assumes she’s going mad (witchcraft and magic are forces in the world, sure, but hearing things is the reserve of madmen and prophets). It’s only when the servants begin whispering about ghosts that she begins to believe that odd sounds she hears, and the strange person addressing her might not entirely be a figment of her imagination. After a while, the voice becomes a body—the spitting image of one of the portraits hanging on the wall, some female ancestor of her husband’s—and Delphine finally understands that the old house has an unwanted guest.

Ghosts, she was taught as a child, do not exist. There are instead spirits, who sometimes attach themselves to the traces of magic left behind by the long dead, borrowing their shapes. General wisdom agrees that by and large, these spirits are not friendly beings, but the one hanging about the estate seems to have a sympathetic ear for the Princesse de Polastron, and she can’t find it in her to arrange for the place to be rid of the only being who is aware of and cares about her current position. It’s all manipulation, of course, but in her vulnerable state Delphine fails to realise this. It’s presence makes her life a little more bearable, for a while.

It’s wrong to say that the ensuing events were entirely the machinations of that otherworldly force. Delphine’s favourite daydreams were already the sort in which she, like a crop-haired Clytemnestra, committed various acts of violence against the one person she found herself resenting the most. All the spirit does is give her the means by which to free herself from the prison she willingly skipped into—that is to say, it allows her to get away with murder, an act which not only benefits Madame la Princesse, but also functions as a blood tribute to the spirit, giving it enough power to move from the estate to wherever it wishes to go.

The papers call it the most horrifying case since the Ripper murders in England—worse perhaps, with the victim a man of some social standing. Delphine would recount how she returned from one of her long walks to encounter the horrible scene of carnage (here she would cut off, as though too affected by the memory). The vestiges of a spirit's magic are felt overwhelmingly through the house by the dark suited authorities that come to investigate, and the servants are able to confirm how Madame had been seen leaving a long while before the time of murder, sparing her any criminal charges. With a spate of subsequent murders in the area catching the attention of the authorities (her little 'friend' left to its devices, she supposes) Delphine is, for all her troubles, left with her freedom and a certain sense of satisfaction that comes with a job well done.

Personality:

Certain assumptions can be made about the girl surrounded by a crowd of people at a party; the one laughing and telling witty stories with a certain airy enthusiasm that carries through the room. For example: she must have a good amount of social perception that allows her to navigate the potential minefield of high society, with an amiable demeanour to her that allows her not just to be popular, but liked—a charming creature who may not come up with the most profound of bon mots, but is enthusiastic and entertaining to make up for all of it. Wrapped up in confections of silk and lace, with fashionably cropped hair, she appears to complement a modern attitude with a genteel, old world style—perfectly suited for someone of her rank, then. Delphine, for all that she has gone through, seems to thrive under the glittering lights of chandeliers, amongst glasses full of champagne and the sounds of a band playing jazz.

Yet assumptions are formed from surface impressions. Someone once said that character is what you are in the dark—turn the lights out one by one and the crowd flocking to her will begin to disappear. That flighty young woman is, after all, someone who does not flinch at the at the idea of performing morally dubious acts (morally atrocious acts) in her own interests, and this she is perfectly capable of doing without an outpouring of remorse or guilt. It is pertinent to note, after all, that what led her down such a path was not the manipulations and suggestions of a supernatural force—the idea was already in her mind, fruit of her discontent—the spirit merely gave her the means to commit her crime undetected. Thus, after spending her life conforming to the expectations of others, the instance she seizes control of her own destiny reveals a side that is both ruthless and detached from concerns not her own.

Violent, too, if the police reports have anything to say about it—entirely at odds to the docility she has always known as a model for womanhood. But even she can admit to the catharsis that comes with sublimating oneself in a physical act—for her, a favoured way of moderating stress in a healthy environment is through dance, a means notably unavailable to her during her married life. Delphine’s mind, otherwise, is a thing that is constantly working, constantly aware of every little thing she says or does. There is hardly a word that comes out of her mouth that is not carefully selected with the intention of giving a certain impression, or a gesture that doesn’t mean something in relation to whatever public persona she has on. Her dealing with her husband was not the sort of act performed with spite or scorn, but acted as an outpouring of a year’s worth of pent-up misery and frustration, thought and feeling channelled into action.

This is not to leave out her magic, which not only had a part in the murder, but is also just as visceral and physical as any punch or kick. For Delphine, experience has linked her power to an association of freedom—she doubts that she would have escaped her married life so easily were she some heiress without a drop of magic in her. Though she is not some sort of thaumaturgical scholar, or capable of performing the sort of spells her university educated brothers have been taught, she did learn a trick or two from the resident spirit, and has the potential to do more, though for now that remains untapped.

So then, who is the girl at that party? A mirror of the ultimately shallow and empty society she still finds herself in the middle of; the careful act of a person aware of what is expected of her by the people around her, who slips into her carefree persona as though it were an old suit. She is as disappointed by adult life as she was disappointed by her magic, but the limitations it imposes on her are not as heavy and inescapable as the ones her husband once put on her. She always has the option to escape to the south on a vacation, or back to her parents’ home if a moment to herself is what she truly desires, to spend as much time as she wants in her own company.

On her own, the bright and bubbly demeanour vanishes. It’s not a Jekyll and Hyde situation, certainly, but the Delphine de Polastron known only to herself and, perhaps in part by members of her own family, is a much more subtle creature. More prone to deep thought, more prone to saying things that aren’t for the sake of provoking a reaction, or the sort of idle chatter that gets forgotten in a few days. The sort of person who reads something a little more concrete than Vogue or the Gazette du Bon Ton and who is aware that the world she lives in is so very removed from the real lives of others (though she is still sheltered enough not to know the worst conditions ordinary people live in). Less charming too, but that doesn’t necessarily erase that certain tenderness she has for her parents and siblings, even if they still aren’t given a glimpse of her most private internal machinations. Subtle, and yet still unsure of what she wants from life, or from her personal relationships. There’s still an unsatisfying lack of something, that appears to have prevented Delphine from finding happiness in her freedom, or a proper freedom at all.

The problem is something like this. If one spends their early years being the person others want them to be, and their later years pretending to do so, it leaves very little space for actual self discovery. With everyone around her failing to set her expectations, she can’t invest much feeling in them, negative or otherwise. Taking off her mask for good is just something Delphine can’t quite bring herself to do—not out of fear of the backlash, but from the hesitation that stems from the notion that there just might not be anything underneath.

Abilities/Powers:

MAGIC | ABILITY A fairly comfortable environment means that Delphine’s magical abilities haven’t developed too far out beyond her basic education (recent circumstances aside). Whilst she does have a fair amount of competence in each of the areas she has had instruction in, their application has so far been for fairly mundane and occasional uses.

( ELEMENTAL ) The manipulation of Earth, Wind, Fire, Water, and the pure magical energy commonly known as Aether. She has decent, if not very powerful control over every one of the elements (thus: summoning fire and water, moving earth, and using the wind to create barriers against projectiles), though has also learnt exactly how to sear a hole in someone’s chest using Aether, thanks to her spirit chum.

( IMPETUS ) The movement and manipulation of objects, hardly used by Delphine, save for when she wants to get a glass of champagne from across the room.

( ILLUSION ) Considering a lifetime of emphasis on aesthetic beauty, Delphine has learnt her fair share of illusory spells and glamours. Mostly applied for the purposes of decoration (so far, at least), she can conjure up imagined objects and images, or simply change the colour of her hair, if she wants to.

( RITUAL ) Not the sort of magic that goes down well at dinner parties, and only really known to Delphine via contact with less than pleasant beings, but she does know how to perform a blood sacrifice in order to lend power to a spirit.

THE PRICE OF POWER | LIMITATION Much like physical activity, the use of magic expends energy; the greater the spell, the more exhausting it is for a witch. Overexertion can diminish or deplete a witch's power, leaving them incapacitated for a period of time, and has, in extreme cases, proved deadly.

THE GOLDEN GIRL | ABILITY
Her parents were relatively successful in ensuring their daughter grew up with a certain sense of refinement. For Delphine, this has meant years of ballet and piano practise, amongst other intellectual pursuits, more useful in so-called civilised society than an environment like Haven. The former skill has at least given her a certain amount of agility and stamina, though nothing beyond normal human capability.

Items/Weapons:

( 1 ) pair of pointe shoes
( 1 ) afternoon dress, inevitably inconvenient for ruined landscapes
( 1 ) ornate dagger, still stained with the blood of François de Polastron

Sample Entry:

sample thread here

Sample Entry Two:

Lulu stands behind Delphine, picking apart their reflections in the large mirror placed at the foot of the room. With fourteen years between them, Delphine has never been as close to her as with Jean, but these days her sister takes more time to visit, arriving some lunchtimes at the hotel, with society gossip and conversation. They’re both widows, though Lulu has the excuse of a war, and now wears a new engagement ring anyway—the gentleman, Delphine has heard, is an English lord, trumping her own obsolete title.

They’re both dressed for tea, though Lulu—all severe looking haircut and elegant features—has opted for a more pared down look in comparison to Delphine’s romantic trifles. Were it not for their eyes, and their shared habit of wrinkling their noses at anything distasteful, Delphine would wonder if they were from the same family at all. Despite this, her older sister had been something of an idealised figure when she was a child, and Delphine can't recall how many times she had stood in front of the mirror, wishing she too could be a popular, dark haired beauty, before Jean walked by and called her a vain idiot in his own version of fraternal tenderness.

She practices a smile—a test run of possible emotions for the afternoon—but it wavers under the weight of a dissatisfaction Delphine can’t quite put her finger on.

“This frock doesn’t fit me properly,” she mutters, and Lulu raises an eyebrow in reply, sauntering off to sit on a chaise with a gilded frame. “It doesn’t!” Delphine insists, recognising that look in her sister’s eye, and turns this way and that so that the lacy skirts of her robe du style sway like the blossoms that rustle outside in the April breeze. She can’t quite figure out how it doesn’t fit, though, and lend her claims more weight than any other youthful complaint. Next she tries fixing her hair, or whatever of it that pokes itself out from under her hat. Still nothing. Lulu summons a magazine lying on a faraway table and pretends that she isn’t being entirely impatient.

In truth, Delphine would really rather not go out at all—permit her some whims, please—though such a simple desire doesn’t explain her nagging feeling—there really is something wrong with the outfit. It’s only when she lifts her hand once more and notices her reflection; the lack of something sparkling in the light—she hasn't got her wedding ring on, put simply. Her husband is dead; it's no longer a requirement, but the sight of it is a deterrent to male company inclined to flirt, and that, she knows, will make this lunchtime outing a great deal easier.

Lulu frowns, of course, when Delphine is finally ready to saunter out of the hotel into the daylight, but the small smile on Delphine’s face is, for once, not entirely a false one.

Name: Pol
Contact Info: PMing this account is fine!
Other Characters Played: N/A
Requested apartment: N/A

Name: Laura
Contact Info:

tableflip
Other Characters Played: Reim Lunettes (

allweather), Count D (

pruning)
Requested apartment: With ~~that dumb jerk~~ Sebastian, if they're both accepted...!

Character Name: Alois Trancy
Canon: Kuroshitsuji II
Canon Point: episode 7, before dueling Ciel
Background/History: here

Personality:
Alois is the product of unfortunate circumstances and no appropriate supervision. He has all the trappings of the self-centered, wealthy elite, with an undercurrent of instability and a dollop of deep insecurity. To meet him is to meet the exuberant, whimsical, even careless face he presents to the world; he's described as passionate and "burning," and he certainly takes those descriptors as far as they can go. Everything Alois does he does at 120% whether it be extravagance or bloodlust or just reacting to things. Emotions in moderation are not something he can do, really -- Alois is always on, all the time. Sometimes it's an act, in order to manipulate, such as when he turns on the waterworks to dramatically retell a tragic past that didn't actually happen to him (not exactly, anyway), and sometimes it's his true feelings. In a pre-series OVA, Alois catches a butterfly and keeps it as a pet, and when it dies within the day, he all but begs it to come back and take revenge on him for causing it to die. Then he tries to cremate it and sets his room on fire. There is no in-between with Alois, it's all or nothing, and usually all.

The manipulation is a real thing, though. Alois is a young man with a lot of anger inside him, and he never seems satisfied when he acts out. Losing his parents young and being reduced to a mistreated thief thereafter did not exactly warm him to other people, and instead he spent an indeterminate amount of time firmly believing that people who mistreated him (and his little brother) should be annihilated. Not just have a run-in with karma, but really and truly annihilated. He goes so far as to smash the medicine he stole from a sick old man after his brother tells him that someone else hurt him, demonstrating that he also views "people who mistreat me and my loved ones" as one unit. This is a pretty understandable mindset for a young child, who may not understand the proper way to react to conflict, but since Alois went from poor child thief to losing the only person left that he loved to being kidnapped into sexual slavery, it's not surprising that he never grew out of the mindset.

His world is black and white, in that way: either you're with him or against him, and to be with him is to love him, wholly, without distraction or judgement. Because he thinks of people in this cut-and-dry way, the fact that he very easily manipulates people is a logical result. He lacks empathy almost entirely, and is willing to do anything to get what he wants. He also acts out cruelly in moments where he knows he's being manipulated or mistreated in some way; when his "uncle" comes by to hear about his miraculous return to fortune (which Alois knows is the man's only real concern), he literally throws bank notes off a balcony to watch the man scramble for them on the ground below. And he laughs about it, because for all of a few minutes, it's a great time.

There is a reason that, even when Alois appears to be enthused or entertained by something, it ends very quickly, and that is another part of his anger problem. Going from overtly provocative and touchy-feely to furious and physically violent in 0.5 seconds is not indicative of a stable mind, exactly. He's so full of resentment and has spent so long being unhappy that he doesn't have much genuine happiness left in him. Things that make him truly happy are either cruel things or unhealthy things, and the result is that he's very quick to move on from one thing to the next without much care. What he can maintain is a grudge, and for ages. Beneath the laughing and dancing is a genuine desire to hurt that which has hurt him; it's heavily implied that he had his trusty demon butler Claude kill the previous Earl Trancy after enduring his abuse, and basically the entire series is dedicated to Alois' quest to destroy the demon who killed his younger brother. He believes, because of Claude, that this demon is Sebastian Michaelis, and so begins his quest to ruin his demon life by aiming for Ciel Phantomhive. The idea is that if Ciel is "his," Sebastian won't be able to consume his soul, and it will really, really piss him off. The fact that it's Ciel isn't actually anything personal - he's pretty ambivalent about Ciel, on the few occasions Ciel isn't trying to murder him! It's all about ruining the things that ruined him.

In this respect, Alois is actually somewhat cunning. The biggest indicator of this isn't revealed until the end of the series - at which point Alois' body is dead, his soul is contained in Ciel's body, and Claude and Sebastian are both trying to get him the hell out of there so they can nerd fight over who gets to eat Ciel. Alois, feeling now that he has been as wholly betrayed by Claude as he possibly can be and still wanting to piss off Sebastian, orchestrates a gambit (via second contract with demon maid Hannah) that will end in his proper death and Ciel becoming a demon. This effectively traps Sebastian in Ciel's servitude forever with no payoff, because a demon can't consume a soul that isn't human. To the very end, Alois is super, super set on giving a big middle finger to everyone who's ever hurt him.

Which leads us to the instability! As Alois is very, very easily hurt. Yet again a result of his (lack of) upbringing, the harsh treatment and abuse he suffered, and the frequent traumatic loss of people he loved, he is not exactly a contender for confident boy of the year. He has a paralyzing fear of being left alone that causes him to (attempt to) rule all of his interpersonal relationships with an iron fist. He threatens punishment to all of his demon servants if they displease him and most often deals out punishment, both physical and psychological, to the maid Hannah. He just doesn't know how to function in a healthy relationship, and when he loses the control of it he breaks down- see: begging for his life after Ciel hurts him in their duel, and immediately after begging for Claude's help and subsequent attention when Claude, uh, becomes Ciel-crazy and ignores him vomiting blood on the floor. Extreme cases, obviously, because of the stab wounds, but his entire relationship with Hannah for nearly the whole series is an exercise in hurting someone he knows won't fight back, because clearly treating her kindly would be disastrous.

The thing that drives Alois more than his urge to ruin ruiners' lives is his desperate desire to be loved. After everything he loves is taken from him abruptly and permanently, his idea of what love is and what it means to love and be loved become pretty warped. He acts overly affectionate and familiar with just about anybody, if the mood strikes, but the object of his deeply misguided affections is Claude. Who is a demon. Who doesn't have feelings. Who wants to eat his soul, until he decides he doesn't. Alois adores Claude. He wants Claude's attention and approval - and often tries to get reactions out of him, so much that Claude actually smiling is the thing that tips him off that something is Wrong. In Alois' eyes, Claude understands him better than anyone, and even after Claude changes the game and decides he'd rather have someone else's soul (and crushes Alois' skull in his hands), Alois still tells him that Claude is the most important thing in his life. He so desperately needs Claude that he is willing to knowingly live a lie, if it means Claude will pretend to give a shit about him.

In the end Claude doesn't give a shit, maybe, and Hannah is the one who understands Alois and loves him because his dead brother's soul is inside her. Yeah. Alois, desperate and needy as he is, immediately accepts her love and story as truth, because he just needs someone to tell him they love him.

(Of course, that is the end of the series, and he's less desperate but still pretty needy at the actual canon point, but.)

Finally, there is a tiny, tiny part of Alois that is an incredibly sad but also naive little kid. He tries to cremate a butterfly, for heaven's sake. He also thinks that saying "I'll leave you alone and apologize" is a compelling argument for why Ciel should spare his life, after antagonizing him and overtly trying to kill him and harass his butler. It's a problem.

Overall, Alois is a lonely boy wrapped in anger encased in a kaleidoscope of off-the-wall antics and inappropriate behavior.

Abilities/Powers: None!

Items/Weapons: Two more tacky outfits and this ugly sword he was about to duel with.

Sample Entry: boop

Sample Entry Two:
The bed Alois wakes in is not his own, and that is the first thing that nearly makes him panic. The second is that the room is none he's ever seen before, with other beds too - the last time he shared a room it was a filthy basement floor and he will not go back to that - and the third is that he's still dressed in his day clothes. It seems an inconsequential thing, but if he hasn't been snatched from his bed then he could have been snatched from anywhere, and what if it takes longer for someone to realize he's missing--

He presses his hands over his eyes to calm himself down, even as his lip trembles. It's alright. Claude will come for him and take him home. He won't spend more time in this uncomfortable rock of a bed than he needs to. It's alright. He sucks in a deep breath and dares to look around.

That's a mistake. The room, on closer inspection, is filthy and run down as well as crowded, and Alois scowls in disgust at the floor as he swings his legs over the edge of the bed to stand. Now that he's thoroughly convinced himself that Claude will be here any minute, his moment of panic recedes into a dull irritation with his circumstances. He scuffs the floor with a heel and picks up the still screeching alarm clock with mild interest. It's like nothing he's ever seen before, and he knows this: it's annoying, and he has no idea how to turn it off. Shoving it under the pillow on his bed does nothing, and so he yanks the blanket off the bed, balls it up, and piles that on top as well.

Still, it doesn't help. Alois makes a noise of frustration and hits the linen pile with his fists, stopping only when he hits hard enough to connect with the clock underneath. Now grievously injured, he gives another shout and throws blanket and pillow to the floor, snatching up the alarm clock and flinging it against the opposite wall. Some part of it cracks, and mercifully the wailing alarm stops.

He steps on it on his way out of the room, taking great care to dig in with his heel. As he walks through the (disgusting) parlor of this tiny, miserable little house, he pauses only to glance over his shoulder at the abject lack of decor. Someone ought to say something to this empty room, to let it know how objectionable its existence is.

"What shit," Alois says, and turns with a huff to leave entirely. He will wait outside. Claude will be here any minute, and hopefully with the heads of whoever has brought him here on a platter.

Character Name: Yukine (formally “Yuki”)
Canon: Noragami (manga)
Canon Point: after his 'punishment' (chapter 11)
Background/History: series & character

Personality:

“HE MAY BE A SHITTY, GOOD-FOR-NOTHING BRAT…”

Yukine is a willful, slouchy, outspoken teenage boy, teetering precariously on the cusp of maturity. And unfortunately for him, he’s kind of stuck there.

“Yukine” (birth name unknown) died at age 14 (cause and time of death, also unknown), now trapped in pubescent hell for the next… well, eternity, looks like. At an age when most children don’t have a firm grasp of their own mortality, Yukine has had to contend with the knowledge that his life ended before it ever really got off the ground. And he can’t even remember his life. He really doesn’t deal with it very well at all, initially.

When Yukine was first found by Yato (and Hiyori), he was discontent with his new lot the moment he regained awareness. Unwillingly forced into servitude under a shady, homeless, self-described god and bitterly resentful of the living, Yukine attempted to fill the yawning void of life-after-death with ill-gotten money and stolen goods. He saw Yato as nothing but a pest and Hiyori as someone he could use, and as far as he was concerned, taking a thing or two from the living — from any of them, with their warm houses and nice clothes and PSP®s — was only fair. But it’s when he lashes out in a fit of jealous rage againt a school full of children his own age, finally at his breaking point (and coming very close to killing Yato), that Yukine reaches the harrowing realization that what he really wanted all this time wasn’t material, but to be alive again: to have memories, friends, a place to belong, a future. And he couldn’t.

But he also came to recognize that he’d been given a second chance. And even if it’s kind of a shitty deal, he ought to use it wisely. With genuine remorse, he turns a new leaf and ends his vibrant but brief life of petty crime. And his efforts to be good and to work hard now are genuine, though he’s still a mouthy, opinionated, "serrated-hearted" brat, and very much a teenager. Yukine isn't the sort to keep his emotions contained or to hold back when he has something to say. He can be prone to greed, envy or feelings of inadequacy, and can become sullen and withdrawn when things get rough. Yet at the same time, he’s desperate for companionship, and may even consider somebody he’s only held one pleasant conversation with to be his friend.

He’ll take what he can get, because he can't have much. He wonders aloud at one point why somebody like Hiyori, just a normal high school girl, would waste her time befriending and helping him when he’s already dead, yet he dreads the day she when she might move on and forget about him. He’s afraid of being left behind by a world that’s going to continue to grow and change without him — which isn’t strictly true. Stuck at fourteen or not, he’s capable of growing emotionally, at least. He actively works to better himself, borrowing her used school books so he can study what other kids his age are studying, and training regularly with an older mentor so he can serve Yato better. And others note his ability to quickly learn and adapt. Very quickly. It’s easy to convince him to try a new approach or to see things in a new light; you just need to say the right thing.

And though he will face his fears, head-on at times, he can be intimidated or lose his nerve and he's well aware of his lack of experience. He’s not the sort to take up arms or cause anybody harm, without a very good reason. Unfortunately for him, he’s literally a sword (see Abilities), wielded by a god with a bloody reputation and some powerful enemies. He repeatedly tells Yato he has no desire to fight his battles, and has even actively worried about his (read: Yato’s) opponents. It’s later on that Yato realizes that asking Yukine to harm others won’t get his cooperation, but asking Yukine to fight in order to protect his friends will. He feels quite strongly about the people he does have.

Abilities/Powers:

AS A WEAPON

Yukine is a regalia (shinki), a type of weapon used by the gods. Regalia are deceased human spirits, contracted and spiritually bound to their patron gods, and each takes a unique form when called upon.

Yukine serves the (extremely) minor god Yato, and takes the shape of a naked katana blade when summoned. However, like all of his abilities, Yukine’s blade is influenced by his state of mind; distress causes him to dull, and inexperience can make him too sharp.

In this form, he also has the ability (when Yato wields him) to ‘sever connections’ between people. Basically, erasing their canon CR.

But without his god, he can’t change form. And on his own, his only real power is ‘borderline’ right now, the ability to create a barrier between himself and essentially anything else — strong enough to stop bullets. It can be used as a shield or a blockade, but it can only be drawn in a straight line. While fear and disgust make it easier to erect the barrier, it weakens if Yukine quails.

There are a number of other skills Regalia possess, offensive and defensive, but he’d need to be taught these. Currently, he’s not trained in combat.

Despite being dead, he can still be wounded. He cannot, however, die again from dehydration, starvation or exposure to the elements. Lack of food or sleep will still leave him in worse shape, though.

AS A SPIRIT

Beings from the ‘other side’ (spirits, phantoms and gods) in Noragami are not invisible to the living, per se, but they are, for the most part, undetectable. They’re akin to that stranger in the back of a crowded room that you didn’t notice until somebody pointed him out to you, only the effect is amplified here. They’re present, but they’re difficult to focus on unless they call attention to themselves. Yukine’s able to stand right next to a normal human without drawing any attention, but if he addresses a person directly, he’s perfectly visible.

But even after they’re seen, they’re inevitably forgotten once they lose contact with a person for an extended period of time. They can’t remain in the memories of the living for very long; it doesn’t matter how significant a role he may have played in somebody’s life. Their memories may even cast somebody else in his place.

The above only applies to (most) normal, living, run-of-the-mill humans, and supernaturals won’t have any trouble seeing or remembering Yukine. How this works for characters in the game can be handled on a case-by-case basis.

Items/Weapons:

HE IS THE WEAPON
literally all he has on his person are his clothes at this point. He doesn't own anything.

Sample Entry:

[Okay, it’s been a while now, and he’s seen neither hide nor greasy hair of Yato since arriving. Is he worried? No, of course not. Why should he be? If what he’s told is true, Yato’s probably still dicking around in their world. But if that guy’s actually here, rest assured, what Yukine’s going to be is pissed.

He supposes he ought to use his phone, now.

After flipping to voice (honestly, what phone doesn’t have a text function?), Yukine prefaces his message with a quiet, awkward ‘excuse me’, pausing, as if waiting…

he’s not sure how many people here will even hear him over this thing. But… regardless, he still needs to try. With a breath, he continues levelly,]

Has anyone seen a weird-looking guy in a sports jersey and bib around anywhere? In their apartment, or around a dumpster or something... I need to know if he’s here.

Sample Entry Two:

This isn’t his bed.

He knows it isn’t his bed, before he even opens his eyes, because he didn’t have one, the night before. The groggy realization is as startling as the shrill alarm, sending him jolting upright and nearly banging his head on the unexpected top bunk. The alarm is hastily and violently unplugged, and Yukine’s at the window a beat later, peering out at the massive billboard. Safe… together?

He feels anything but. This is wrong. He can feel the hard pulse of his heartbeat all the way to his fingertips, pressed against the glass. He doesn’t recognize this place at all. Where the hell is ‘Haven’? Could he have been kidnapped…? He can’t think of another explanation, but neither can he think of anyone who would even do something like this - he’s pretty sure that war god wouldn’t tuck him into a bed and set an alarm for him if she got her hands on him. Did Yato have some other enemy he neglected to mention…

(Almost certainly.)

The answers aren’t in this room, at any rate, because nobody he can ask is. He turns away from the unwelcome view of his new home and swings open the bedroom door, setting out to find somebody, anybody who looks like they might know what’s going on.

Thank you for applying to Haven.
Your application is in the queue and will be processed on 28th February.

Name: Rach.
Contact Info: (aim.) palpitatingly / (plurk.)

cardiac / (journal.)

niches
Other Characters Played: N/A.
Requested apartment: N/A.

Character Name: Vanitas.
Canon: Kingdom Hearts: Birth by Sleep.
Canon Point: (game.) POST-KH: BBS.
Background/History: KINGDOM HEARTS WIKIPEDIA / VANITAS WIKI.
Previous Game History: N/A.

Personality:

At face-value, Vanitas is a one-dimensional caricature of a villain, shallower than a kiddie pool and enough ingrained facetiousness to make any kind of cordiality a veritable impossibility. As a monster, he's ahead of the curve: he has absolutely no reservations about blackmail or insipid callousness, threatening violence with no notable change in his inflections, as if he saw the face of God in death, and on several occasions, he's even reveled in the notion of mindless combat alone. For nothing more than kicks, rather than contingency plans, he's plunged entire worlds into the death throes of calamity, eerily akin to an affliction capable of propagating itself through sheer will alone. The end defines the means for him, and he's stripped everything else, staking his entire life toward one singular goal, a a self-destructive edge to his actions that speak volumes in terms of his interminable anger. Endless and empty, his rage goes beyond the normalized misnomer of an emotion and instead fuels him, constantly riles him up to irascibility at the flip of a switch, at the slightest indication of a premature defeat he hadn't accounted for. His ill temper is a kind of emaciated hunger that fractures in the same manner as a psychotic break, all too prone to lie and cheat in double-handed complicity.

But he wasn't always a vulgar, emotionally-constipated little shit. In fact, he used to be quite a nice young boy, if soft where he should've held resolve, with a feeble-minded excuse of a spine and a unquenchable desire to please his superiors. He wasn't a paragon of virtue, but he'd never struck with the intention to kill, either, only to live up to the status quo as a keyblade apprentice in training.

And he called himself Ventus.

To put it in perspective, he is Ventus, just in a baser form, dispelled of all light and sense of governing morality. Circumstantially, this scenario came about as optimistic as could be expected when an adolescent's being ripped apart by sentient shadows at the whim of what should've been a concerned mentor — not well. As a last-ditch attempt to sustain his plans, the aforementioned mentor in question, Master Xehanort, unlocked this poor kid's heart, which released the darkness that's inherent within every living creature, which materialized into the being known as Vanitas. In essence, he's literally an embodiment of a forcibly withdrawn darkness, and by all rights, shouldn't even exist, much less display any notion of autonomy whatsoever. Whether it was regarding his lack of a definite face or the fact he didn't even appear remotely human, outwardly he wasn't Ventus, who was (even then) rapidly dissipating from existence itself by that point. Embalmed in pseudo-death and acutely suffering the repercussions of a fractured heart on the ground beside him, there wasn't any time for condolences, much less any wayward benefit in crying over spilled milk — or in this case, a severed soul.

But he'd felt sad, all the same. For an unnatural separation, for a child with a shock of blond hair and a winsome smile, for what he should've been and what he was instead forced to become. This was the beginning of a self-perpetuated cycle of vexation, the catalyst to the individual introduced in the game, the manic counterpart of Ventus who no longer resembled his other half in any form, having fully accepted an almost ecstatic cruelty, seeing the face of the divine in annihilation even as he laid waste to a numerable amount of other planets, costing countless people their hearts in the process.

There was nothing left for him.

Because, unlike Ventus, he'd never lost his memories or succumbed to bouts of amnesia. Instead of remaining mercifully clear of otherwise painful recollections, he was drawn to realize his sheer weakness, and the pitiable doubt he once sustained curdled into contempt, a loathing restlessness in his bones and snap-clawed exasperation for his failings. And this, in turn, ignited the fuselage for ire. He was unable to control his impulses, the preternatural gut instinct to harm with neither reason or rationale. And he'd questioned his own existence countless times with festering emotion, which only lead to the creation of the Unversed — monsters an embodiment of his feelings, which he'd constantly strike down, only to cause himself more pain. Master Xehanort, case in point, constricted him still even as he wasn't part of Ventus anymore, offering neither explanations or understanding to the grave he'd dug himself into, killing Unversed to spur the creation of more Unversed in an elliptical, inescapable cycle of hatred.

And when Ventus should've died, he was saved and made whole from the efforts of a newborn heart (that would soon go on to be the titular main character of the series, Sora) — and Vanitas, pointedly, was cast aside. Even the place he'd once shared had become redundant, and he was irrevocably ousted from ever meaning anything to Ventus (not that the other boy had ever known him to begin with, as he was unconscious and under Master Xehanort's supervision until the definitive switch, when Xehanort decided it would better suit his purposes to allow Ventus to become stronger elsewhere, rather than be imposed to Vanitas's irate whims to hurt Ven in some manner). Ventus's inclusion into the fold with other keyblade apprentices under the tutelage of Master Eraqus and subsequent absence from Vanitas further exacerbated the loneliness accrued from a fate he couldn't even possibly begin to fathom, and although still connected to Ventus in some manner (having once been part of him) only made him more disconsolate, as Ven grew better and functioned normally without his darkness, whereas Vanitas remained miserable in exile, reduced to nothing more than a shadow rejected by his own light. Ventus, definitively, was supposed to be his salvation, but became the person he despised the most as a form of self-deprecation that extended beyond his own isolation and consumed him.

Pushed to a breaking point, Vanitas snapped brittle, succumbing to exhaustion and ready to die, when Master Xehanort came arrived with an ultimatum disguised as a sense of purpose: becoming the χ-blade would grant him the relief he'd pined over, unite him with Ventus, and serve as deliverance for every world, being the mythical key of lore that could unlock entire planets with ease. And Vanitas, who'd only ever wanted to escape from the useless ineptitude and agony of worthlessness and anguish, readily accepted the plan, regardless of ulterior motives in a jointly cooperative effort to use any and all means to become whole again. Envious and under constant torment, he fell under the manipulations of Master Xehanort in a sort of pseudo-fealty, nothing real, but something vague enough to substantiate a false, begrudged loyalty.

And to this end, he became devil incarnate, the fucker who give a rat's ass about breaking sentimentality and inspired doubt in Master Eraqus's pupils as they fought to save the world from the derisive proponents of anarchy. He absolutely no qualms about antagonizing others, and as he was under constant pain himself, it mattered little to him to snap bones in the process as he fought each of the keyblade apprentices. To Terra, he was the masked boy, a conscripted enigma who'd never spoken more than insults at him, actively dispelling the peace with every action undertaken. To Aqua, he was a freak, a malevolent force of harm to both of her respective friends and an infuriating source of continual annoyance, perpetually egging her to become stronger as per his contingency plan. Ironically enough, it's insinuated that both Master Xehanort, Master Eraqus, and Ventus held the same opinion in one regard, despite the contrasted disparity in their ideologies: Vanitas was an abomination beyond hope of salvation.

And by the end of the series, Vanitas is all this and more: a self-fulfilled prophecy of malevolence who mutilated whatever shot he had at salvation, and ultimately doomed to destruction (whether or not it was by his own hand).

Abilities/Powers:

OKAY, SO HE HAS A SHITLOAD OF ABILITIES, BEING THE DUMB SPECIAL SNOWFLAKE HE IS, BUT I'LL BREAK IT DOWN FOR EASE-OF-ACCESS BELOW:

BASICS — First and foremost, he wields the mysterious weapon known as the Keyblade (his in particular is called Void Gear) that he summons at will. He's able to infuse it with darkness, spar exceptionally with it, and even if it's knocked out of his hand, nine times out of ten, he'll just teleport it back to his hand. Yeah, he's a cheater.
MAGICAL — He's adept in basic magic requisites for any keyblade wielder twice over, including the elemental spells (fire, ice, lightning, wind, earth, the composite of energy itself, etc.) and specific incantations such as cure, reflect, magnet, etc. The notable differences are that these are dark derivations of magic, all infused with some level of darkness that amplify his own skills and inflict considerable damage to light-oriented opponents. Basically, he packs a punch with his abilities, demonstrating both dexterity with the timing of these attacks and the sheer magnitude of their power alone.
PHYSICAL — ACROBATICS EVERYWHERE. Physically, he's able to dole out numerous combos with a high pain tolerance while simultaneously wielding the ability to glide or high jump. He also seems capable of defying the universe's laws of nature and reality to an extent, as expressed by his superhuman capabilities and the sheer amount of complicated stunts he pulls, whether it's backflipping off cliffs or teleporting behind his opponents with pressurized attacks at the ready. Exceptionally immense endurance, quick to counterattack, instant recoveries, levitation, defying the laws of quantum physics, the whole nine yards. He fights dirty, so expect cheating in any type of battle whatsoever.
TELEPORTATION — As previously mentioned, he can teleport from place to place, surround himself in an aura of dark energy for quick transport through space itself (don't ask), and use the Corridors of Darkness, which are dark portals exuding wisps of smoke to traverse extremely long distances. He can travel anywhere through the Lanes Between (aka the nebulous space dividing each world), or as a way to fast-travel in general using these aforementioned methods.
UNVERSED — They're monsters that are actually manifestations of his emotions. Operating on his orders alone, he can create and control them to attack at will (a skill he's learned over time and honed through years of practice), which caused major destruction to the worlds. He can absorb and re-spawn them in equal stride, but keep in mind, their deaths cause him immense pain that he's since grown used to enduring on a regular basis.
*** Since Unversed are a special case (literally the manifestation of his emotions), I believe it'd fall under the summon category as it's a personal ability solely reserved to Vanitas. It would be kosher with me to restrict the effectiveness, amount, and strength he can release at any one time with set repercussions, I'd just like to request that he retains the power to summon them in some form during his stay in Haven. To pose a hypothetical, Vanitas can only summon a few Unversed (maxed at probably five low-level types) at any one time, and it becomes physically taxing to retain their physical forms outside of his body beyond, say, one hour.

Items/Weapons:

The "clothes" on his back (essentially the viscerally organic bodysuit ensemble he's seen in for the entirety of the game).
One (1) Keyblade called Void Gear.
Unversed Summon*** (see Abilities/Powers section for more details).

(If you have any questions/concerns or would like me to change something, just let me know!)

Edited (cries about formatting screw-up ok i'm done) 2014-02-28 23:39 (UTC)

Sample Entry:
Irritating. [ His voice is borderline-apathetic, if best, but there's an undercurrent of irritation that festers like an open sore beneath the inflection. It remains ambiguous whether he's referring to the functions of the network audio post itself, or something outlying the bare-boned absurdity of being chucked head-first into a world he can't just warp out of. ]

You're all boring, and frankly I hate you all. [ Blandly stated; there's some static on the audio heard as he drops the cell phone on the ground, grinds it into the dust with the heel of his foot. ]

Oh, yeah. [ The audio is thinner, more splintered with patches of radio silence now that his voice is projected from a farther distance, but still coherently audible. ] If bluebird or my master's deadbeat vessel are listening in —

I wouldn't be here without him now, would I? I've got plans, and none of you are any use to me dead. [ A pause, and then a percolating moment or two that suggest he's cut off the line, but then — ]

Tell Ventus to come out and play. As incentive for the idiot: I'll break someone if he doesn't feel like it. [ Laughter, raucous and hollow, reverberates through the interface as he abruptly cuts off the feed. ]

Sample Entry Two:
In the sense he’s only as real as believes himself to be, a collective solipsism of axiomatic half-truths and whole lies, Vanitas sticks to the static, the ambiguous, the delineation of melting shadows and incompleteness. Memories were only worth their weight in pyrite; they hadn’t redeemed him, only sealed him into his fate, leaden, the gravity of losing his individuality mildewing somewhere around his ribcage, right where his heart should have been. Seeing is believing, even if four years is only the distance he’s traveled in circles, skittering from one revelation to another. There would be no return, and it's nothing he expects. Death becomes him, fingers splayed out as a macabre form of control, and by extension, the exertion of his own will.

"You used to be too broken to talk back." His breath runs dry, a garish derision that reveals what his mask conceals — an undying hatred.

In this way he isn't weak, held down by the pathetic excuse of a weakling scrabbling past him in Destiny Islands, too concerned with the fate of his friends to realize that the end was already upon them. Assimilation at the roll of a dice, as if becoming someone else was another form of afterlife, as if he could measure the circumference of his destiny through seven days of some godforsaken, penultimate dogfight. Best-case scenario, he’d dissolve into his other half’s mental schema, poltergeist in mind and spirit – but that was no way to live, less than a shadow, unable to resolutely die. Vanitas would be the one to win. He'd make certain of that. He could’ve laughed then, let some kind of hysterical cacophony right from the bend of his lungs, from expelling air gone slightly tangible, but with irritation settling in too quick, he's more prone to make an ultimatum with Ventus's nearest and dearest.

"Fine. Then I'll give you a reason to fight. Come and find me ... at the one and only place to spawn the χ-blade — the Keyblade Graveyard. There you're gonna' see me choke the life out of Terra and Aqua. Then we'll see how long you play the pacifist."

Straightening with his blade summoned in an act of menace, he leaves satisfied, (much to the insistent yells of Ventus as the Corridor of Darkness closes up around him). Everything was finally set into motion, and case in point, the catalyst usually was the plot twist.

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