Myca (![[info]](http://www.insanejournal.com/img/userinfo.gif){kind=small} asphyxiaviridis) wrote,@ 2008-01-14 11:16:00 |
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STORYLINES (comments screened)
New storylines added on June 28, 2008: storylines XIV, XXII and XXIII.
• Unless otherwise stated, I will be very willing to double up!
Storylines
I
I need to calculate what creates my own madness
Murders make headlines, but not all of them make it to the papers. A hash of brutal murders have taken place in a large city, and after six of them, the killer slipped. A victim is left dazed in a small pool of his own blood but alive. Two sets of fingerprints are found, along with two sets of blood samples; the police believe they have the key to solving the case, but something just doesn't add up. A journalist/ detective/ therapist believes that (s)he can figure it all out, and (s)he starts to spend a lot of time with the victim, who has short-term amnesia because of the trauma he has recently been through. Friends and family members are afraid to be around the victim, now, but the journalist/ detective/ therapist stays a steadfast friend, at least, it seems so on the surface. They grow closer, and the victim starts to relate what he does remember to the journalist/ detective/ therapist. When the victim remembers up to a certain point, however, he just stops; he himself is the serial killer.
Preference(s)/ Notes: I'd play the victim/ serial killer, he might have MPD, or he might be possessed by a dead family member (no, this is not completely out of the blue, it has to do with the backstory of the character; IM/ comment for details if this is the option you fancy). You can play the other character any gender you wish, and if you can come up with another occupation that would give you that sort of tie to my character, then I'd be all right with it. This can progress into a romantic line, with a darker edge.
II
and it's driving me crazy to think that I may be
soulmates option: taken;heykidbiteme folie à deux: open.
A house, a stable job, happily married with one child, and another to come, his life is considered mundane but ideal by most. Fiercely ambitious, more successful and accomplished than most people ever dream to be, she has sworn never to put emotions before reason, never relationships before career. One day, while rushing home, she is almost mugged and tries to chase down the thug in a fit of anger. He stops her and helps her to pick up her things, and that is when he sees a crude pendant of some sort of unevenly flattened metal. Déjà vu; he knows her, but he has no idea how. She experiences the same thing. Despite their completely separate lives, they start to see each other more, and eventually start having brief episodes of flashbacks to other times they had been together. Flashbacks to other decades and centuries, and the pendant is always there, with either of them. Is reincarnation possible? Do they believe in soulmates? Meanwhile, "real" life carries on and his wife finds out, whereas her career starts to stutter and falter. The flashbacks are misleading as well, as they unfold with more and more detail and reveal that they were not always the happy couple in previous lives.
Preference(s)/ Notes: I can play either character, and their genders can be changed. I'd like to play this out with someone who is at least slightly interested in loosely historical storylines for the flashbacks. This could be actual reincarnation or an elaborate delusion shared by the both of them. They don't always have to be their current genders in their past lives. If anyone who is interested knows what the soulmate principle and Old Souls mean, I'd be absolutely thrilled.
III
for I am your witness that blood and flesh can be trusted taken;greyskyahead
based on Laurell K. Hamilton's Anita Blake: Vampire Hunter, with a few slight changes
He is apparently human with a knack for misplacing a lot of his things. His more sensitive friends, what few of those he has left, tell him that he feels "funny." In actuality, he has the rare gift of telekinesis. Not the superhero telekinesis, but the actual ability to excite particles: start fires, move objects, literally manipulate force. But he laughs it off, suppresses it completely, and refuses to believe that there is anything out of the ordinary with himself. He hates all these supernatural creatures, you see, especially vampires. Either his son or his younger brother was killed by one. It was deemed a "hit-and-run" because the case was never solved.
The Master of the City was recently killed, leaving four master vampires fighting over that covert title. A vampire who was not even identified as one of those four is trying to court the telekinetic man's attentions. He has the countenance of a very young man, barely out of his teens, and appears weak in power, but he wants the man to be his human servant. He knows about his ability. He is not above force if persuasion and manipulation don't work.
Preference(s)/ Notes: I'd like to play the vampire. (I'd use this PB.) The man with telekinesis should be in his mid- to late twenties. You must have read some of the ABVH series. This could turn into quite a twisted line. If you've read ABVH, you should know what I mean.
IV
the stars are out tonight only they can hear you breathing
"Oh! So... how did you guys meet?"
"Typical story: we just happened to try to off ourselves in the same place, at the same time."
Two people meet by chance on the roof of their five-story apartment building. Both have the same thing on their mind: suicide. Christian complains about how fate has to ruin his last moment of glory, while Jonathan becomes even more upset. They jump, though. Technically, the jump should have killed them. It didn't. Both wake up in a hospital, and Christian recovers faster, physically. That doesn't stop him from sticking around to "rush" Jonathan back to health. Apparently, Christian's determined to put his own life back together, as well as the other one's, since their suicide attempts failed. Jonathan isn't very interested in living, but for some reason, he lets Christian try, though he's secretly planning his next suicide attempt. Of course, he doesn't know that Christian isn't as motivated as he seems; more... desperate. And while they have entirely different reasons for attempting suicide, they soon find that they aren't so different after all.
Preference(s)/ Notes: Names and genders can be changed; I just needed names to differentiate them. I'd prefer to play "Christian" rather than the one thinking of committing suicide again. This can be modified so that the characters try to let themselves bleed out in the communal bathroom of a college residence, instead.
V
let me show you everything that could be take it back in time rewind
It should have been simple: a mage and a knight, natural enemies. Though neither are really part of the human populance––no matter what the knights say,––both have been striving to negate each others' influences on the humans; the mages struggling to weaken the human dependency on machinery and cold, hard logic, the knights to eradicate the human tendency to fall back on superstition and magic that the mages happily hawk.
Of course, none of the humans understand the power struggle between the two factions: the mages used more machinery than the knights did, and the hierachy and the codes the knights follow are heavily steeped in religion, if nothing is to be said about the strange patterns their sword-fighting weaves through. There is obviously something that doesn't quite add up, but only the original founders of the Knighthood of the Lily and the elder mages know the truth of their hypocrisy and why their factions seem to be forever locked at each others' throats.
The history of the knighthood hasn't seen many of Isen's kind: an actual romantic knight, the kind that joins the knighthood in hopes of protecting something, for the love of something, honourable and earnest. In other words, he started out quite gullible and had romantic and likely unrealistic notions of being a knight. Respectful and wary of the mages even though he'd never hesitate to kill one. As for what he's trying to protect, Isen hasn't given up on meeting that person he's been seeing in his dreams since he was a young boy of six summers, despite the general message of resignation and hopelessness the person keeps preaching with his body language and his words.
Everything in his dreams make sense in one crystal moment, however: when Isen finally sees the face of the wizard-prisoner he was escorting back to the knighthood's stronghold, he realises that the much-feared Time wizard Aelle is who he had been dreaming of all along.
Preference(s)/ Notes: The names can be changed. This storyline involves a bit of time travel, or at the very least, post- and pre-cognition. This can be played as pure fantasy, or modern fantasy, though modern fantasy (The human populance being none the wiser about the existence of magic; the mages and the knighthood masquerading as something else and waging their wars in a not-so-physical way, though it occasionally does break out into an actual physical fight. Instead of a robe for Alle, it could be an illusion of a face to hide what he really looks like.) would require a bit more planning. I'd rather play the mage, but playing the knight would be fine as well. In the case of someone else wanting to play the mage, please IM or email me for more details.
VI
slightly your disease a love without cure no uncertainties for sure
"That first glimpse you just can't turn away from is like love at first sight. Stalking is like a slow courtship, the clandestine little encounters like little chocolates and flowers; all expressions of love. And if love demands sacrifice and if love means giving all of yourself to someone else, then absolute possession is the ultimate consummation of a great love."
Lex has always known that he has been and was still being stalked. He feels eyes on him very frequently, but being in a crowded place chases that feeling away. In the first few years, nothing came from the feeling, until that first night he felt someone in the living room with him. The nebular feeling turned into an actual glimpse that no one else seems to have caught. A few weeks later, he hears another person near him, then a touch after that. Only his closest friend or family know about these little "episodes;" they figured that he was simply lonely. Initially, he seeked psychiatric help for it, but after a while, Lex stopped going since he never "got better."
Recently, he's met someone at work; someone new and fascinating and just different. One of a kind. The "delusions" ceased for a while as he threw himself into a friendship that was moving too fast with that new person. A few weeks later, his "delusions" became more prolonged and intense. This time, he can almost make out a face, and he's starting to see that there exist things in this world that few people believe in.
Preference(s)/ Notes: I'd much rather play the "victim" for once, and I'd like this to be femmeslash or slash. The "new person" and the "stalker" are one and the same, of course, and this would definitely be a supernatural storyline. We can work out what the stalker really is. Please email/ IM for more details!
VII
eyes are open wide but still so much to see
Clara has been burned many times, but who hasn't? It wasn't fair, though, the way Adam simply brushed her off when she had put so much of herself into her confession and her little tirade about how much she loved him and how long she had been in love with him. While crying in her bedroom, or going through the motions of getting over Adam, Clara realises that there's something wrong with her mirror. She didn't realise it earlier, but while the woman in it was herself, looked exactly like her, she wasn't doing the things Clara was. Soon enough, Clara realises that what she sees in her mirror might be what her life might have been had she and Adam worked out as a couple.
Initially, all Clara did was watch. The only view she had was of the bedroom, and as the other woman and the other Adam moved in and out and went on with their lives, apparently oblivious to Clara's attention, it becomes obvious that the man and the other woman had been together for quite some time already. That, and that their relationship was starting to crumble for various reasons. Clara doesn't know what is really going on, but she does know that she won't allow their relationship to disintegrate; if my own won't work out, at least theirs should, was what Clara thought. It was the same thought she had in mind when she found out that she could actually walk through her own mirror to the other side.
Without a concrete idea in mind, she walks through completely to the other side, only to realise that she and the other version of herself cannot exist in the same place at the same time. Clara isn't quite sure what is happening, but she wakes up in a pool of thick blood and heavier things and the other woman gone from her sight.
The other man, the other Adam, stirs.
The mirror won't work anymore.
Preference(s)/ Notes: None of the names indicate a gender preference. I'd rather play a male character. The other-Clara and the original-Adam can remain NPCs because neither of the characters, Clara and the other-Adam, knows about their alternate selves.
VIII
how did i make this choice i lost my soul to bloodlines
They had always been close. It wasn't enough that they were born within less than a minute of each other. They have the same face, and at one point, the same body. They came close to dying at birth, but they survived. The scar from the surgery that separated them both is the only thing they have on their body that is different from the other; even then, it's only because their scars are mirror images of each other's.
It was as if whatever higher power that existed wanted them to stay together, stay close, always. As things went, it seemed as if there was nothing that would ever successfully get between the twins, especially ever since their parents have passed away and they have had to live with their spinster aunt. They never had secrets from each other, and like most identical twins, they've pulled their share of identity-swapping pranks. Older now, they've both found other sorts of entertainment.
Lately, Noah has been keeping secrets from his twin. Whether consciously or not, he has been playing with fire. How serious the consequences were didn't really occur to him until the... thing tried to own him. That is to say, the "thing" failed only because it passed its curse on to his twin in a case of mistaken identity, instead.
Preference(s)/ Notes: No preferences, aside from how they both have to be male; I can play either twin and the name Noah doesn't have to be used. We can discuss the nature of this "thing" that the "innocent" twin has also been made into, but I ask that it be something that is wonderful and repulsive at the same time. Some sort of vampire, but not the conventional kind. What I'm trying to say is that it be something that might attract or entice the other twin (and any other regular human being) and repulse him (and them) at the same time. It must also be something that would grant partial immortality (or an extended lifespan), and something that is possible to be passed right on to the "guilty" twin if the storyline goes that way. I'd like to play out uncertainty, force, the twins' relationship with each other and their separate priorities regarding it (for instance, would the infected twin want to tell the other twin about it at all? Would he forcefully infect his twin with it as well? Hold it back in the event that his twin demands to be infected with it? The list goes on.)
IX
if no truths are spoken no lies can hide so nobody wins
Once upon a time, he hit such an all-time low in the relationships department that he actually wrote a letter to the person he'd had the best relationship with, never mind that it had been five years and they hadn't parted on good terms. Immediately after mailing that letter, however, he regretted it, feeling stupid. Imagine how pleasantly surprised he was when he received a reply, and a favourable one at that. It's true that she's changed a lot, though––but then, it has been five years.
After a year of such correspondences, she writes him an urgent letter, asking him for a favour: would he please help her take care of this friend of hers who's in trouble? Of course, he says yes, anything for her. He tried to call her, but she never picks up, and then the friend arrives, bringing trouble, and he has no idea what to think of the friend. Things happen and it becomes apparent that "the friend" is actually the person he's been writing letters to: "the friend" had just moved in to the apartment his old girlfriend used to stay in, and after reading the letter, thought it would be amusing to reply.
Preference(s)/ Notes: I can play either. I ask that the "desperate" character who starts writing be male. Nevertheless, if I do play "the friend," I'd play the character male. "The friend" would be better played as the friend of the girl the "desperate" character writes to, and the girl would either be dead (which would make a more dramatic line) or otherwise indisposed (they could meet her later, but we'd have to write that third character for a bit, which might or might not be a hassle.) As for the nature of the trouble "the friend" brings, I'm thinking of something illegal or criminal; debtors, police, other criminals and the like. With a bit of tweaking, however, it could be a supernatural sort of trouble, which wouldn't be quite as interesting as a non-supernatural one (since supernatural stuff generally renders everything else rather pale in comparison, thus undermining or temporarily doing away with the issue of "the friend" lying so completely to the "desperate" character.)
X
she knows the voices in her mind silence becomes the noise in her mind
Kenji is an intersexual. That means that he is either both male and female, or neither; it's sort of like the glass is half-empty, the glass is half-full question. He is a terminally indecisive college student jumping from one major to the other. And then there's Azariel, the "zany Asian chick" no one knows outside of clubs. As different as night and day, it isn't so strange that there are people who detest one and absolutely adores the other.
To anyone who chooses to dig around, they're roommates.
They are, in fact, the same person, and it isn't a case of DID/ MPD, either. His parents don't know, of course, but then, they never really had the time to bother with him, and Kenji likes it that way. Kenji knows what he's doing, and he's been carrying on with his desperate little ruse in the name of exploring his gender identity––or lack thereof.
It's a good thing that it isn't very likely for the same person to know the both of them equally well... right?
Preference(s)/ Notes: A storyline that doesn't have quite enough meat is pretty rare coming from me, and I'll admit that this is one of them. Obviously, I'll play Kenji. It's not so hard to think how a person would put two and two together and come to the conclusion that Kenji and Azariel are the same person. The problem lies in where to go with finding out that they're the same person. Pitch some interesting character concepts or conflicts to put more oomph in this storyline, please!
XI
and i'm coming home now praying you'll be there taken;heykidbiteme
Ours is an odd courtship, so she muses to herself. Meeting your significant other through the Internet seems commonplace nowadays, nothing to get worked up over. Letters were out-dated, and she just never did get into the whole regular-friends-to-lovers thing. It seemed ironic yet perfectly fitting that she fall in love with someone she knows nothing about, other than that he plays the piano obscenely well––she hears him everyday; he lives only two floors up, just two windows right opposite her.
Feeling bold and being the writer that she was, she writes a short message complimenting him on his playing and slips it under his door. The same evening, he plays something new, and she wakes up to find a message slipped under her door, thanking her, and did she like his new piece, he'd written it especially for her? Months go by and the messages grow longer, more detailed, and they both find that they've said more about themselves to each other than they've ever shared with anyone else. They never meet of course; there's an unspoken promise there that they'd never try to see what the other looked like, or who they really were. Self-esteem issues or just a crippling shyness?
She was perfectly content with that. Besides, the only other person she knows in the apartment building is a young man she never bothered to find out the name to, as it seems to her that he simply delights in being completely obnoxious to her all the times they've run into each other––which is quite frequently, since they both live in the same building. He seems to think that she was quite the pain in the ass, too. It wasn't inaccurate to say that they loved to hate each other.
One day, the playing just stopped. No messages came that day to explain why he was gone from the piano; the few times he did let other things get in the way of his piano-playing, he'd actually sent her notices, as ludicrous as it sounded. She wrote it off as his being exceptionally busy. Everyone had busy instances in their life, and she was just going through a painful period of grieving of her own.
Nevertheless, it was the same the next, and then the next and the next and the next, until she finally resorted to violating that unvoiced promise and marched right up to his apartment. Surprisingly, he let her in, and she finds that they've already met, and she should have expected something like this: the pianist and the obnoxious young man she sees around so much are really the same person. He doesn't seem to care anymore, however; he's just recovering from a horrific accident and having her become furious at him only weighs him down that much more.
Preference(s)/ Notes: That's a long description, I know. I can play either character, though I'd rather play the pianist, and I'd like the genders to remain that way: a male pianist and a female writer. The main objective of the storyline is to see how they cope with their own troubles as well as finding out that the person they were in love with are the person they rather hated. I'd like to write out their messages and their courtship, as well as their normal everyday meetings prior to finding out about each other's full identity.
XII
so death gave up each of these treasures for a song
Once a singer, still a singer. Formerly of the National Youth Choir of Great Britain, Galen has made the transition between gospel star to international (pop) opera soloist, and his star is still on the rise. Ridiculously popular in some parts of the world yet completely unknown in the US, Galen is a surprisingly unchanged young man. He's still painfully shy, still a pacifist, still has horrible taste in fashion and the like, and he's still very sick from his heart disease. He lives day to day in a sort of odd resignation that drives him to help others, especially with his voice, without regard to his own well-being––he's already dying, so not much more harm can be done to him, right? Think of it as a twisted sort of invincibility.
Galen is aware that there is much to envy about his own life, but he just cannot see beyond his diseased heart. Someone else can, however. The fame and wealth doesn't matter to her––she has ample amounts of both,––and she see right past his lousy health to the voice he possesses. While everyone is oblivious to the fact that his voice isn't just amazing the normal way, she knows just what sort of power he holds with his voice. It literally heals, it soothes, but most of all, it is capable of projecting myriad emotions on all who hear it. Isn't it a happy coincidence that she's just perfectly equipped to steal voices and then place the stolen voice where she pleases? Is it also a coincidence that she's in the sort of position that has almost everyone who's heard of her look up to her, and Galen is no exception to that?
Preference(s)/ Notes: This is a storyline I wrote based on a character I want to play again. I'll play Galen, who is based on the Nightingale from Hans Christian Andersen's story of the same name. The woman (or man) I want to play Galen opposite of could be a more famous singer in the same genre, or a manager or something else. This could develop into a one-sided romance, or an actual romance, whichever strikes your fancy. At some point, she/ he should try to steal Galen's voice, or swap it.
XIII
now your world's moving way too fast it's hard to deal
It sounded like easy money––get close to the brat and then rid the world of another annoying, rich kid. The hard part was already taken care of. Somehow, his employer managed to install him as one of the rich brat's bodyguards.
The rich brat in question seemed weird even from the first time he'd ever seen him. Nathaniel Rathborn-Prideaux, 23 years of age, Caucasian, 6ft even; the skinniest rich kid he'd ever seen, for sure, and despite how he seems to be constantly eating or drinking something, the other bodyguards drop vague hints about how he's anorexic or bulimic, or possibly both. There's just something else that's also just off about him, but the hitman doesn't quite understand that until he sees Nathaniel's shadow act independently of the brat's actions for the first time. That must have been an optical illusion, right?
Over time, Nathaniel and his new bodyguard get closer, and the hitman finds even more things that is amiss with Nathaniel, particularly his tendency to sleepwalk and how most of what Nathaniel does in that state would have been at least life-threatening, if not downright fatal, without him around. That's why he needs so many bodyguards, right? After the hitman––who might have had a change of heart by then, or some sort of hesitation regarding wanting to kill Nathaniel,–––saves a groggy and confused Nathaniel from a few close calls, the hitman starts to get encoded phone-calls from his employer, asking him what is taking so long.
After a few such calls, which always come only when Nathaniel isn't around, his employer threatens to expose his real intention of hanging around Nathaniel to Nathaniel himself. The hitman finds that ludicrous, because why would Nathaniel believe someone he doesn't know over the hitman himself? He soon realises that it isn't quite as ludicrous as the possibility that his employer is actually Nathaniel himself––or, more accurately, Nathaniel's shadow moving his body.
Preference(s)/ Notes: This is, again, a storyline I wrote based on a character I want to play again. I'll play Nathaniel, who is really based on the Shadow from Hans Christian Andersen's story of the same name, and again that doesn't really matter. IM/ PM me or comment here for details on exactly what Nathaniel can do. It would make more sense if the person sent to kill him is male, and I think that the killer having no supernatural powers would make things more interesting.
XIV
let hope burn in your eyes we'll love we'll hope we'll die all to no avail
Despite all the covens' in-fighting, the rest of the world, the human world, remains quite oblivious. The world isn't so much unlike our own.
Circle Daybreak and Circle Midnight have never got along, with Circle Twilight sitting on the fence about most things and picking only what would profit them most. One of the things that they never could agree on was the issue with the shapeshifters––what were the natures of these beasts? Circle Midnight's stand is obvious––all shapeshifters who are willing are welcome to be a part of their little society. While Circle Twilight has a few shapeshifter operatives, they are generally not spoken of much, and it's up for debate whether these operatives actually exist. The Daybreakers, however, simply cannot stand the idea of welcoming what amounts to accidents of nature into their ranks.
So, after years of having their objections being voiced––sometimes in rather violent ways,––but going unheard, Circle Daybreak has decided to take matters into their own hands to once and for all eliminate the taint of the shapeshifters from the world. Combining magic and science, a pair of witches were given a very special child, equipped with all the traits that would allow him to do his duty well: start and finish the genocide on shapeshifters. It didn't matter that for all intents and purposes, the child was a shapeshifter as well, simply without the ability to take his other form––a phoenix.
Countless, apparently unrelated killings dominate the front page of the newspapers, and the police are left baffled to the sudden hike of the crime rate. Circle Midnight knows better, however, and they have sent a witch after the phoenix, but somewhere in the middle of things, the Midnighter was "taken care of" and a Twilighter continued his work instead, unbeknownst to Circle Midnight. His instructions were quite to the point: learn more about this new threat, recruit him if he proves to be useful, nullify the threat if he proves to be otherwise. What better way to do all that and make the right decision than to observe the phoenix closely?
The Midnighter operative slipped up and ended up having to get much, much closer to the phoenix than was previously planned, but he's a good actor, so he decides not to abort the mission, yet. Eventually, he came to the conclusion that it's all a matter of nature versus nurture and that he could personally coax the phoenix out of the path the Daybreakers had intended for him. It remains to be seen how well that works, and time is running out, because the Midnighter might have been just a tiny bit biased with what he had decided, and the in-fighting between all three covens are coming to a head again.
Preference(s)/ Notes: Yes, I know a phoenix is usually female. This is also lightly based on the Night World series by L.J. Smith, and when I say lightly, I mean that it started with a germ of an idea sparked by the book series, and then it took on a life of its own. Only the names of the witch covens are the same now. Needless to say, there is no need to have even heard of the book series. I can play either character, though I would prefer to play the phoenix. This is set in the modern day, and yes, it's supposed to be an action-drama thing because I don't have enough lines with that combination of genres. This line can go in a lot of directions.
XV
my lamb and martyr, you look so precious taken;jophiel
It's blasphemy, to even think of comparing oneself to God, but Gadreel has already committed so many blasphemies, another one piled atop his little mountain of them was nothing. He has long let go of the hope of ever returning to Heaven.
Instead of spending the rest of his renouncing his brethren in Heaven, Gadreel has made the realm of His beloved creations his home as well, skipping from one body to another, picking the ones which best suited his purpose: to further his own already astronomical knowledge and to fight the age-old battle between good and evil. The latter would always hold second place in his priority list, however, as egoistical as Gadreel was, but it was in one such battle that he acquired the bloody remains of an angel: Jophiel, the angel of beauty. Unfortunately, there was no longer much beauty to be found in the bits and pieces that Gadreel could salvage, but that didn't matter to Gadreel––he had always had different opinions on what beauty was and was not, and this was his chance to realise that. It would also allow him to repair that grievous flaw all angels seem to have: no will, no freedom, slavish.
His human body was thirteen when he sneaked out one night to retrieve the remains of Jophiel, and when he was finally ready to reactivate the angel remade to his specifications, Gadreel was already forty-three. God only knows how Jophiel would behave, and how well he would adapt to his new presence of a will and completely remade image. Coincidentally, the next battle would take place in that same year.
Preference(s)/ Notes: I would play Gadreel. That is all.
XVI
break free of these mind games, all i'm trying to do is modify my plan
Regular, cliché fairytale: a beautiful princess, heiress of one kingdom, a golden prince, heir of another, a betrothal since forever, a covetous and bitter warlock. There is a war, the warlock does the obvious to take control of the two kingdoms, but he is defeated. The prince and the princess would be married in a month. Happily ever after, predictably, is simply a matter of time.
Unbeknownst to the happily oblivious couple, the warlock is far from defeated. The defeat during the war was a diversion, or that is what the warlock would insist on if he ever were asked, but his pride was nothing compared to his ambitions and the lengths to which he would go to obtain what he wanted: the two kingdoms under his rule. A hostile takeover would cause much civil unrest and no ending to the line of "heroes" and opportunistic would-be suitors, anyway, so the warlock decided that he would take over the body of the prince. He could do that, marry the princess, and the kingdoms would be his.
Doing just that would be a gradual process, however, and as the days go by, the warlock decides that he actually likes tormenting the prince; break that will, put fear and sense in that pretty, empty head of his. Taking over the role of the princess instead of the prince would be just as simple, wouldn't it?
Preference(s)/ Notes: I'd like to say that while I would be willing to play either, I'd rather play the prince, but considering how few people would want play the role of the wizard/ warlock given a choice, calling it a long shot would be an understatement. That being said, I think it would be interesting for the prince to start out the way most fairytale princes do––naive and innocent. Plenty of time to get him acquainted with reality. Also, perhaps the embittered warlock has something against the prince or the princess.
XVII
I've left behind this little fact: you cannot kill what you did not create
It is often hard to tell when a case has become personal for an agent. Some take their jobs too seriously, for want of something to be more passionate about, and yet others simply have atrocious luck.
For agent Heller, it is the latter: years and years ago, when he had received his first real case, he had been assigned with a senior agent to a serial murder case. One little mistake and he became a victim, the last victim of the sick bastard––they had finally found the evidence to put a face to the rapist-strangler on him: semen and a thumb print. The young agent had been found handcuffed to his bed, brutally raped, bleeding from the trademark motif the murderer cut on his victims' bodies, the agent's gun lying on the floor with the safety still on. His windpipe had suffered enough damage that while he had been saved, his voice was never quite the same.
There had been many obvious suspicious loose ends, but everyone had been happy to close the case. The murderer had been found, convicted and then had been sentenced to life in prison. There had been something that hadn't sat quite right with Heller, but since he hadn't been able to tell what it was, he had had nothing to say.
So, Agent Heller recovered, as much as was possible for him. Years, almost a decade now, identical murders have come to the attention of the bureau. Of course, Heller wasn't assigned to the case.
The killer didn't seem to get the hint, however, because Heller is starting to receive the notes again. The little half-mocking, half-threatening notes that he had received just two months before he came up close and personal with the killer. The handwriting is exactly the same, says the handwriting analyst. Then, the infinitely more personal notes start, full of little details of the attack on him that he had never told anyone, along with photos of him, both current and during the attack.
Preference(s)/ Notes: I can play either. I'd like to keep both characters male, just because it would be more interesting in this case to have it that way. The name can be changed, obviously. It is obviously not a copycat killer; perhaps there were two killers working in tandem, and the leader of the two allowed the other one, the doer, to take the fall. The killer might even be someone of power, directing and watching rather than doing any of the dirty work himself; quite ostensibly, he could even be another agent, playing a dangerous game. As for Heller, he could have coped with that experience in many ways, and might even be married now. In any case, he might have withheld certain details from the new investigating agents because the details were too painful, humiliating or personal. Other details are up for discussion.
XVIII
your dark intensions your feelings for me what is the reason, the thorn in your eye
He could not understand why no one had ever thought of what he had. Perhaps it was because no one had ever felt so strongly for a person and have that person be entirely oblivious to all that. Screw conventions––screw sanity;––Paul refused to allow things to stay that way.
His plan is fairly simple: arrange for himself and his friend to be kidnapped, to play comforter and to nurture a romantic relationship between the two of them. The only problem was that Paul had to share his plan with a third party, because there wasn't exactly a hotline to call to hire kidnappers and then to pay anonymously, and then get concrete assurance that the hostages weren't going to be harmed. So he got an acquaintance to help him pull it all off, promising the sucker money and favours.
The day to pull off the kidnapping finally comes and everything seemed to be going well. That was, until Paul realised that he had been drugged just as his friend was supposed to be. What seemed like only a second later, Paul woke up to find himself not only in a dingy, dirty cell with person he fancies, but also the acquaintance he had more or less hired to help him pull off the kidnapping. All signs point to their having got into an automobile accident and... What did that have to do with the three of them being in cells?
Paul was about to turn to his acquaintance to shake some answers out of the idiot, of course, but it was then that he was blindfolded and dragged to another cell, beaten up, and then returned to the the first, apparently communal cell. The cycle happened again and again, not only to Paul, but to his two cellmates as well, and as the abuse becomes more, changes in nature, so does the way he views his acquaintance and the person he had been interested in. When the body of the latter is returned to the cell, mangled beyond recognition, only Paul and his acquaintance is left.
Preference(s)/ Notes: No preference on who to play in this one, either. Obviously, the tables have been turned on Paul though he probably will not realise it––the one beating him up when he's blindfolded is his acquaintance, and the people left in the cell when Paul isn't the one being abused could change always and be unpredictable so it doesn't become too obvious to neither Paul nor the other victim. Again, the name can be changed, and this would probably work better with two male characters, but it would be more interesting for the person Paul was interested in to be female. They might all be rich kids with too much time and money on their hands, full of themselves, disdainful of laws and limitations of less "privileged" people.
XIX
life goes on though I am trying not to is it too much to ask for your dreams? taken;catnipper
Once upon a time, things didn't go well.
Valery had tried to walk out once, and two centuries later, he had tried once again to walk away; away from his sister, away from his brother, but most of all, away from the desperate urge to please his brother and the frustration of always, always failing. Then again, it was damnably hard to tell if he were failing, given how very unexpressive and unemotional Szymon was. Valery, by contrast, was anything but unexpressive, and when his entirely incestuous love for his brother appeared to be reciprocated only to the point where the blood flowing through their veins mattered, it really wasn't worth the aggravation.
A decade from the second time Valery had tried to walk away, and for the first time, truly give up, they had their happily ever after. Something like a compromise was the regular rhythm of their days, if one can compromise one's very personality at all. However, their past catches up on them very abruptly. That was, that was what really happened, though neither brother were aware of what was really happening.
Szymon, worried out of his mind but unable to admit that even to himself, finally found Valery two weeks after his disappearance. The young man appears to be Valery, anyway, because he claims not to know Szymon at all. What he isn't telling Szymon is that he can't recall anything beyond the last two weeks, though Szymon seems familiar somehow. Familiar and dangerous to him. Having never got along but for the fact that they were brothers, it seems that this time, Valery would truly to be leaving, and leaving for good.
Preference(s)/ Notes: None. Already in play and will never be played with another person even if it dies.
XX
and they want us to grow up we don't want to get a job we all need a decent rock taken;catnipper
They would make the most cliché (anti-)couple if they could only stay in each other's presence willingly for more than a fraction of a second: Bradan a vampire, Mayerl a vampire hunter.
According to Bradan, Mayerl is a deranged human whose hobby is complaining and being unnecessarily mean (especially his tendency to ruin her nice clothes!) and the impression Mayerl has of her is no better. To Mayerl, Bradan is nothing like any of the vampires he had met (and subsequently killed) in all the worst ways; the most unlikely rubbish comes spewing out of her mouth, and she simply doesn't stop yapping. Quickly enough, he went from wanting to shoot her to shut her up to wanting to shoot himself just so he didn't have to listen to her any longer.
Saying that Mayerl and Bradan were an unlikely pair is an underestimation of near-astronomical proportions.
As if waking up in a warehouse for God only knows what reason, and then having to offer the vampire his blood in exchange for her help in lugging him to a hospital wasn't bad enough, they both of them find out very quickly that something is forcing them to stay together quite literally; neither can physically step out of a certain range of the other, and when one is injured, the other feels the effects as well. Questions abound, and as galling as it was, differences have to be put aside in favour of getting to the bottom of all the strange changes that came with the inexplicable bond that had been imposed on them.
Preference(s)/ Notes: None. Already in play and will never be played with another person even if it dies. No one can write a vampire more interested in her own clothes than her well-being the way Ally can.
XXI
finally I find when I lose control inside my body crumbles
It is an honour to work with a scientist that has become a bit of a celebrity, what with his recent betterment of a few age-old scientific facts that have always been taken for granted––accuracy, precision and plain complete knowledge were always overlooked for the flashier new discoveries. There are, of course, the obligatory weird rumours surrounding Dr. Mihangel Edyvean, but no one with an ounce of sense pays attention to them, do they?
However, it goes from an honour to being just fucking bizarre when said scientist picks a bartender, of all people, to be his protege. The bartender isn't all that thrilled either, but money speaks, and in this case, it speaks very loudly indeed. There was also the fact that the bartender's job is getting to him, anyway––all the stress and loud music is playing havoc on his hearing and making him see things.
Dr. Mihangel Edyvean seems to keep to his side of the bargain very well: it was all work with him, even though the bartender is very often quite lost. A month into the job of being something of a glorified lab assistant, and the bartender's suspicions were finally realised: yes, Dr. Edyvean is indeed bloody insane, talking about how the world is not as it seems, and neither is reality. At least, it sounds crazy until the bartender starts to see what Dr. Edyvean is describing, as if there were a thin film over everything in the world, hiding what was really under it. If Dr. Edyvean is full of it, then the bartender had been hallucinating heavily lately, and no one wants to believe that.
Just when the bartender starts to become caught up with all the extreme science, which is really another name for alchemy and transmutation, Dr. Edyvean loses it completely for a few days, recognising no one and far from behaving as his usually calm and highly-disciplined manner. When he finally recovers after wrecking most of his house, the truth finally comes out: Dr. Edyvean is suffering from a malady he refuses to explain, and the bottom line is that he is trying to pass on his knowledge to another person who can see beyond what he calls "consensual reality," before he loses the clarity of mind to do so. Consequently, his protege was intended to be his executioner as well if he becomes a threat to "reality" when he finally stops being able to recover from his bouts of insanity.
Preference(s)/ Notes: I would be playing Mihangel Edyvean (and yes, he is an alchemist/ sorceror/ warlock/ whatever you want to call it), and this would be set a decade or so in the future, and it would be a science fiction/ high fantasy line––yes, you can mix the two! No space ships or the like, just pseudo-science. The bartender can either be male or female, I'm not picky about that. It doesn't even have to be a bartender, just someone completely incongruous and someone in need of money.There are a few more specifications, but I'd rather discuss those later. This is also based a tiny bit on MtA, but I think no knowledge of MtA is better, really.
XXII
so where do I sail? a ship losing control the ghost ship wanders far
It's ridiculously simple, though the tabloids are all over it, citing that he is trying to warm the public up to his eventual coming out of the closet. Others are claiming that he's trying to endear himself to the GLBT community that he'd somewhat alienated with his flippant remark about how he wasn't into getting buggered up the *** but people were free to do whatever they wished. Thierri can't have everything his way, but the way he sees it, an actor without a job is just a couple of steps below an actor with a slightly punctured ego. He could weather it all, no problem. Playing a homosexual man couldn't be that hard, really.
That was, Thierri thought so until he found out that he was acting opposite an openly homosexual actor. Suddenly, the most affectionate or intimate scenes come that much harder, and no matter what everyone tells him, kissing a man is not at all like kissing a woman.
Preference(s)/ Notes: This is a pretty generic line and isn't particularly original. I left it pretty vague near the end because it can go any number of ways, be it romantic or not. The only parts I wouldn't want changed is the part where both characters are actors, playing on-screen lovers, with one being homophobic and the other openly homosexual.
XXIII
nothing you can say that's gonna make me walk away I promise you I'm gonna stay taken;morningwood
It all started with a deal.
Noah didn't want power and the adoration of the world, and Elias hardly asked for the child to sign over his human soul in his own blood. It was late, the boy had wandered down a road he had never seen before, and when a mysterious man offered him anything he wished for, the boy asked tearfully only to be guided home. In exchange for that, Elias would come back to reclaim him when he was older. All right, so perhaps Elias had more or less asked for the boy's soul, but he was hardly the devil––far from it.
So, the man led the boy home, and quietly, following him in the form of the growing shadows of the deepening night, Elias made sure that Noah reached his home safely. He should have left the boy on the threshold to the "real" world, just as he should have left the boy alone when Noah was on the doorstep of his home, but one more minute became another day, and in the blink of an eye, Isaiah had been watching Noah from the shadows, watching every second of the boy's life.
None of Elias' brethren understood what had gone wrong with Elias, but they knew how it would end, and so did Elias. This time would be different, though, he told himself. Where Julian had simply forced himself into Jenny's life, Elias would give Noah a choice: give him a chance, or fulfill their contract. Give him a chance to do what, however, Isaiah never really figured out, and that really wasn't a choice, now was it?
When Noah turned eighteen, Elias decided that the boy was old enough to make his choice, so he showed up on his doorstep, looking exactly the way he did years and years ago, again offering the boy all of the world, and presenting Noah with his two choices. It all sounded insane, of course, but how could Noah write it all off as a bout of madness––whether on Elias' part of his own,––when Elias could do what your average bloke couldn't, and is there just something not quite right with the colour of his eyes, the eerie and unrealistic perfection of his skin?
Preference(s)/ Notes: Based on L. J. Smith's the Forbidden Game trilogy. Julian and Jenny belong to her, and so does the concept for the Shadowmen, but everything else is mine. You don't have to know anything about this trilogy. I can play either character. This is definitely a romantic line, though it can remain one-sided (Noah could just not reciprocate Elias' feelings). It can be drama-heavy, fluffy, or a combination of the two, because while Elias is old (though he is one of the youngest of his kind), he isn't and has never been human, so his time amongst humans might be a bit bumbling or just plain ridiculous.
Themes/ Plot Elements/ Fandoms
- L.J. Smith books.
- Anita Blake: Vampire Hunter books. - Mercedes Lackey's Valdemar series. - "canon" angels and fallen angels; you know, the Grigori, the two falls, the named angels/ fallen angels.
- gender identity issues.
- religious issues.
- normal people in extraordinary circumstances.
- theoretical science.
- steampunk/ high fantasy; ever played Arcanum: of Steamworks and Magick Obscura?
- the whole "magic is extremely advanced science" angle.
- possession, demonic or otherwise.
- action-drama, violence, gore (all with plot, of course).
• Unless otherwise stated, I will be very willing to double up!
I need to calculate what creates my own madness
Murders make headlines, but not all of them make it to the papers. A hash of brutal murders have taken place in a large city, and after six of them, the killer slipped. A victim is left dazed in a small pool of his own blood but alive. Two sets of fingerprints are found, along with two sets of blood samples; the police believe they have the key to solving the case, but something just doesn't add up. A journalist/ detective/ therapist believes that (s)he can figure it all out, and (s)he starts to spend a lot of time with the victim, who has short-term amnesia because of the trauma he has recently been through. Friends and family members are afraid to be around the victim, now, but the journalist/ detective/ therapist stays a steadfast friend, at least, it seems so on the surface. They grow closer, and the victim starts to relate what he does remember to the journalist/ detective/ therapist. When the victim remembers up to a certain point, however, he just stops; he himself is the serial killer.
Preference(s)/ Notes: I'd play the victim/ serial killer, he might have MPD, or he might be possessed by a dead family member (no, this is not completely out of the blue, it has to do with the backstory of the character; IM/ comment for details if this is the option you fancy). You can play the other character any gender you wish, and if you can come up with another occupation that would give you that sort of tie to my character, then I'd be all right with it. This can progress into a romantic line, with a darker edge.
and it's driving me crazy to think that I may be
soulmates option: taken;
heykidbiteme folie à deux: open.
A house, a stable job, happily married with one child, and another to come, his life is considered mundane but ideal by most. Fiercely ambitious, more successful and accomplished than most people ever dream to be, she has sworn never to put emotions before reason, never relationships before career. One day, while rushing home, she is almost mugged and tries to chase down the thug in a fit of anger. He stops her and helps her to pick up her things, and that is when he sees a crude pendant of some sort of unevenly flattened metal. Déjà vu; he knows her, but he has no idea how. She experiences the same thing. Despite their completely separate lives, they start to see each other more, and eventually start having brief episodes of flashbacks to other times they had been together. Flashbacks to other decades and centuries, and the pendant is always there, with either of them. Is reincarnation possible? Do they believe in soulmates? Meanwhile, "real" life carries on and his wife finds out, whereas her career starts to stutter and falter. The flashbacks are misleading as well, as they unfold with more and more detail and reveal that they were not always the happy couple in previous lives.
Preference(s)/ Notes: I can play either character, and their genders can be changed. I'd like to play this out with someone who is at least slightly interested in loosely historical storylines for the flashbacks. This could be actual reincarnation or an elaborate delusion shared by the both of them. They don't always have to be their current genders in their past lives. If anyone who is interested knows what the soulmate principle and Old Souls mean, I'd be absolutely thrilled.
for I am your witness that blood and flesh can be trusted taken;
greyskyaheadbased on Laurell K. Hamilton's Anita Blake: Vampire Hunter, with a few slight changes
He is apparently human with a knack for misplacing a lot of his things. His more sensitive friends, what few of those he has left, tell him that he feels "funny." In actuality, he has the rare gift of telekinesis. Not the superhero telekinesis, but the actual ability to excite particles: start fires, move objects, literally manipulate force. But he laughs it off, suppresses it completely, and refuses to believe that there is anything out of the ordinary with himself. He hates all these supernatural creatures, you see, especially vampires. Either his son or his younger brother was killed by one. It was deemed a "hit-and-run" because the case was never solved.
The Master of the City was recently killed, leaving four master vampires fighting over that covert title. A vampire who was not even identified as one of those four is trying to court the telekinetic man's attentions. He has the countenance of a very young man, barely out of his teens, and appears weak in power, but he wants the man to be his human servant. He knows about his ability. He is not above force if persuasion and manipulation don't work.
Preference(s)/ Notes: I'd like to play the vampire. (I'd use this PB.) The man with telekinesis should be in his mid- to late twenties. You must have read some of the ABVH series. This could turn into quite a twisted line. If you've read ABVH, you should know what I mean.
the stars are out tonight only they can hear you breathing
"Oh! So... how did you guys meet?"
"Typical story: we just happened to try to off ourselves in the same place, at the same time."
Two people meet by chance on the roof of their five-story apartment building. Both have the same thing on their mind: suicide. Christian complains about how fate has to ruin his last moment of glory, while Jonathan becomes even more upset. They jump, though. Technically, the jump should have killed them. It didn't. Both wake up in a hospital, and Christian recovers faster, physically. That doesn't stop him from sticking around to "rush" Jonathan back to health. Apparently, Christian's determined to put his own life back together, as well as the other one's, since their suicide attempts failed. Jonathan isn't very interested in living, but for some reason, he lets Christian try, though he's secretly planning his next suicide attempt. Of course, he doesn't know that Christian isn't as motivated as he seems; more... desperate. And while they have entirely different reasons for attempting suicide, they soon find that they aren't so different after all.
Preference(s)/ Notes: Names and genders can be changed; I just needed names to differentiate them. I'd prefer to play "Christian" rather than the one thinking of committing suicide again. This can be modified so that the characters try to let themselves bleed out in the communal bathroom of a college residence, instead.
let me show you everything that could be take it back in time rewind
It should have been simple: a mage and a knight, natural enemies. Though neither are really part of the human populance––no matter what the knights say,––both have been striving to negate each others' influences on the humans; the mages struggling to weaken the human dependency on machinery and cold, hard logic, the knights to eradicate the human tendency to fall back on superstition and magic that the mages happily hawk.
Of course, none of the humans understand the power struggle between the two factions: the mages used more machinery than the knights did, and the hierachy and the codes the knights follow are heavily steeped in religion, if nothing is to be said about the strange patterns their sword-fighting weaves through. There is obviously something that doesn't quite add up, but only the original founders of the Knighthood of the Lily and the elder mages know the truth of their hypocrisy and why their factions seem to be forever locked at each others' throats.
The history of the knighthood hasn't seen many of Isen's kind: an actual romantic knight, the kind that joins the knighthood in hopes of protecting something, for the love of something, honourable and earnest. In other words, he started out quite gullible and had romantic and likely unrealistic notions of being a knight. Respectful and wary of the mages even though he'd never hesitate to kill one. As for what he's trying to protect, Isen hasn't given up on meeting that person he's been seeing in his dreams since he was a young boy of six summers, despite the general message of resignation and hopelessness the person keeps preaching with his body language and his words.
Everything in his dreams make sense in one crystal moment, however: when Isen finally sees the face of the wizard-prisoner he was escorting back to the knighthood's stronghold, he realises that the much-feared Time wizard Aelle is who he had been dreaming of all along.
Preference(s)/ Notes: The names can be changed. This storyline involves a bit of time travel, or at the very least, post- and pre-cognition. This can be played as pure fantasy, or modern fantasy, though modern fantasy (The human populance being none the wiser about the existence of magic; the mages and the knighthood masquerading as something else and waging their wars in a not-so-physical way, though it occasionally does break out into an actual physical fight. Instead of a robe for Alle, it could be an illusion of a face to hide what he really looks like.) would require a bit more planning. I'd rather play the mage, but playing the knight would be fine as well. In the case of someone else wanting to play the mage, please IM or email me for more details.
slightly your disease a love without cure no uncertainties for sure
"That first glimpse you just can't turn away from is like love at first sight. Stalking is like a slow courtship, the clandestine little encounters like little chocolates and flowers; all expressions of love. And if love demands sacrifice and if love means giving all of yourself to someone else, then absolute possession is the ultimate consummation of a great love."
Lex has always known that he has been and was still being stalked. He feels eyes on him very frequently, but being in a crowded place chases that feeling away. In the first few years, nothing came from the feeling, until that first night he felt someone in the living room with him. The nebular feeling turned into an actual glimpse that no one else seems to have caught. A few weeks later, he hears another person near him, then a touch after that. Only his closest friend or family know about these little "episodes;" they figured that he was simply lonely. Initially, he seeked psychiatric help for it, but after a while, Lex stopped going since he never "got better."
Recently, he's met someone at work; someone new and fascinating and just different. One of a kind. The "delusions" ceased for a while as he threw himself into a friendship that was moving too fast with that new person. A few weeks later, his "delusions" became more prolonged and intense. This time, he can almost make out a face, and he's starting to see that there exist things in this world that few people believe in.
Preference(s)/ Notes: I'd much rather play the "victim" for once, and I'd like this to be femmeslash or slash. The "new person" and the "stalker" are one and the same, of course, and this would definitely be a supernatural storyline. We can work out what the stalker really is. Please email/ IM for more details!
eyes are open wide but still so much to see
Clara has been burned many times, but who hasn't? It wasn't fair, though, the way Adam simply brushed her off when she had put so much of herself into her confession and her little tirade about how much she loved him and how long she had been in love with him. While crying in her bedroom, or going through the motions of getting over Adam, Clara realises that there's something wrong with her mirror. She didn't realise it earlier, but while the woman in it was herself, looked exactly like her, she wasn't doing the things Clara was. Soon enough, Clara realises that what she sees in her mirror might be what her life might have been had she and Adam worked out as a couple.
Initially, all Clara did was watch. The only view she had was of the bedroom, and as the other woman and the other Adam moved in and out and went on with their lives, apparently oblivious to Clara's attention, it becomes obvious that the man and the other woman had been together for quite some time already. That, and that their relationship was starting to crumble for various reasons. Clara doesn't know what is really going on, but she does know that she won't allow their relationship to disintegrate; if my own won't work out, at least theirs should, was what Clara thought. It was the same thought she had in mind when she found out that she could actually walk through her own mirror to the other side.
Without a concrete idea in mind, she walks through completely to the other side, only to realise that she and the other version of herself cannot exist in the same place at the same time. Clara isn't quite sure what is happening, but she wakes up in a pool of thick blood and heavier things and the other woman gone from her sight.
The other man, the other Adam, stirs.
The mirror won't work anymore.
Preference(s)/ Notes: None of the names indicate a gender preference. I'd rather play a male character. The other-Clara and the original-Adam can remain NPCs because neither of the characters, Clara and the other-Adam, knows about their alternate selves.
how did i make this choice i lost my soul to bloodlines
They had always been close. It wasn't enough that they were born within less than a minute of each other. They have the same face, and at one point, the same body. They came close to dying at birth, but they survived. The scar from the surgery that separated them both is the only thing they have on their body that is different from the other; even then, it's only because their scars are mirror images of each other's.
It was as if whatever higher power that existed wanted them to stay together, stay close, always. As things went, it seemed as if there was nothing that would ever successfully get between the twins, especially ever since their parents have passed away and they have had to live with their spinster aunt. They never had secrets from each other, and like most identical twins, they've pulled their share of identity-swapping pranks. Older now, they've both found other sorts of entertainment.
Lately, Noah has been keeping secrets from his twin. Whether consciously or not, he has been playing with fire. How serious the consequences were didn't really occur to him until the... thing tried to own him. That is to say, the "thing" failed only because it passed its curse on to his twin in a case of mistaken identity, instead.
Preference(s)/ Notes: No preferences, aside from how they both have to be male; I can play either twin and the name Noah doesn't have to be used. We can discuss the nature of this "thing" that the "innocent" twin has also been made into, but I ask that it be something that is wonderful and repulsive at the same time. Some sort of vampire, but not the conventional kind. What I'm trying to say is that it be something that might attract or entice the other twin (and any other regular human being) and repulse him (and them) at the same time. It must also be something that would grant partial immortality (or an extended lifespan), and something that is possible to be passed right on to the "guilty" twin if the storyline goes that way. I'd like to play out uncertainty, force, the twins' relationship with each other and their separate priorities regarding it (for instance, would the infected twin want to tell the other twin about it at all? Would he forcefully infect his twin with it as well? Hold it back in the event that his twin demands to be infected with it? The list goes on.)
if no truths are spoken no lies can hide so nobody wins
Once upon a time, he hit such an all-time low in the relationships department that he actually wrote a letter to the person he'd had the best relationship with, never mind that it had been five years and they hadn't parted on good terms. Immediately after mailing that letter, however, he regretted it, feeling stupid. Imagine how pleasantly surprised he was when he received a reply, and a favourable one at that. It's true that she's changed a lot, though––but then, it has been five years.
After a year of such correspondences, she writes him an urgent letter, asking him for a favour: would he please help her take care of this friend of hers who's in trouble? Of course, he says yes, anything for her. He tried to call her, but she never picks up, and then the friend arrives, bringing trouble, and he has no idea what to think of the friend. Things happen and it becomes apparent that "the friend" is actually the person he's been writing letters to: "the friend" had just moved in to the apartment his old girlfriend used to stay in, and after reading the letter, thought it would be amusing to reply.
Preference(s)/ Notes: I can play either. I ask that the "desperate" character who starts writing be male. Nevertheless, if I do play "the friend," I'd play the character male. "The friend" would be better played as the friend of the girl the "desperate" character writes to, and the girl would either be dead (which would make a more dramatic line) or otherwise indisposed (they could meet her later, but we'd have to write that third character for a bit, which might or might not be a hassle.) As for the nature of the trouble "the friend" brings, I'm thinking of something illegal or criminal; debtors, police, other criminals and the like. With a bit of tweaking, however, it could be a supernatural sort of trouble, which wouldn't be quite as interesting as a non-supernatural one (since supernatural stuff generally renders everything else rather pale in comparison, thus undermining or temporarily doing away with the issue of "the friend" lying so completely to the "desperate" character.)
she knows the voices in her mind silence becomes the noise in her mind
Kenji is an intersexual. That means that he is either both male and female, or neither; it's sort of like the glass is half-empty, the glass is half-full question. He is a terminally indecisive college student jumping from one major to the other. And then there's Azariel, the "zany Asian chick" no one knows outside of clubs. As different as night and day, it isn't so strange that there are people who detest one and absolutely adores the other.
To anyone who chooses to dig around, they're roommates.
They are, in fact, the same person, and it isn't a case of DID/ MPD, either. His parents don't know, of course, but then, they never really had the time to bother with him, and Kenji likes it that way. Kenji knows what he's doing, and he's been carrying on with his desperate little ruse in the name of exploring his gender identity––or lack thereof.
It's a good thing that it isn't very likely for the same person to know the both of them equally well... right?
Preference(s)/ Notes: A storyline that doesn't have quite enough meat is pretty rare coming from me, and I'll admit that this is one of them. Obviously, I'll play Kenji. It's not so hard to think how a person would put two and two together and come to the conclusion that Kenji and Azariel are the same person. The problem lies in where to go with finding out that they're the same person. Pitch some interesting character concepts or conflicts to put more oomph in this storyline, please!
and i'm coming home now praying you'll be there taken;
heykidbitemeOurs is an odd courtship, so she muses to herself. Meeting your significant other through the Internet seems commonplace nowadays, nothing to get worked up over. Letters were out-dated, and she just never did get into the whole regular-friends-to-lovers thing. It seemed ironic yet perfectly fitting that she fall in love with someone she knows nothing about, other than that he plays the piano obscenely well––she hears him everyday; he lives only two floors up, just two windows right opposite her.
Feeling bold and being the writer that she was, she writes a short message complimenting him on his playing and slips it under his door. The same evening, he plays something new, and she wakes up to find a message slipped under her door, thanking her, and did she like his new piece, he'd written it especially for her? Months go by and the messages grow longer, more detailed, and they both find that they've said more about themselves to each other than they've ever shared with anyone else. They never meet of course; there's an unspoken promise there that they'd never try to see what the other looked like, or who they really were. Self-esteem issues or just a crippling shyness?
She was perfectly content with that. Besides, the only other person she knows in the apartment building is a young man she never bothered to find out the name to, as it seems to her that he simply delights in being completely obnoxious to her all the times they've run into each other––which is quite frequently, since they both live in the same building. He seems to think that she was quite the pain in the ass, too. It wasn't inaccurate to say that they loved to hate each other.
One day, the playing just stopped. No messages came that day to explain why he was gone from the piano; the few times he did let other things get in the way of his piano-playing, he'd actually sent her notices, as ludicrous as it sounded. She wrote it off as his being exceptionally busy. Everyone had busy instances in their life, and she was just going through a painful period of grieving of her own.
Nevertheless, it was the same the next, and then the next and the next and the next, until she finally resorted to violating that unvoiced promise and marched right up to his apartment. Surprisingly, he let her in, and she finds that they've already met, and she should have expected something like this: the pianist and the obnoxious young man she sees around so much are really the same person. He doesn't seem to care anymore, however; he's just recovering from a horrific accident and having her become furious at him only weighs him down that much more.
Preference(s)/ Notes: That's a long description, I know. I can play either character, though I'd rather play the pianist, and I'd like the genders to remain that way: a male pianist and a female writer. The main objective of the storyline is to see how they cope with their own troubles as well as finding out that the person they were in love with are the person they rather hated. I'd like to write out their messages and their courtship, as well as their normal everyday meetings prior to finding out about each other's full identity.
so death gave up each of these treasures for a song
Once a singer, still a singer. Formerly of the National Youth Choir of Great Britain, Galen has made the transition between gospel star to international (pop) opera soloist, and his star is still on the rise. Ridiculously popular in some parts of the world yet completely unknown in the US, Galen is a surprisingly unchanged young man. He's still painfully shy, still a pacifist, still has horrible taste in fashion and the like, and he's still very sick from his heart disease. He lives day to day in a sort of odd resignation that drives him to help others, especially with his voice, without regard to his own well-being––he's already dying, so not much more harm can be done to him, right? Think of it as a twisted sort of invincibility.
Galen is aware that there is much to envy about his own life, but he just cannot see beyond his diseased heart. Someone else can, however. The fame and wealth doesn't matter to her––she has ample amounts of both,––and she see right past his lousy health to the voice he possesses. While everyone is oblivious to the fact that his voice isn't just amazing the normal way, she knows just what sort of power he holds with his voice. It literally heals, it soothes, but most of all, it is capable of projecting myriad emotions on all who hear it. Isn't it a happy coincidence that she's just perfectly equipped to steal voices and then place the stolen voice where she pleases? Is it also a coincidence that she's in the sort of position that has almost everyone who's heard of her look up to her, and Galen is no exception to that?
Preference(s)/ Notes: This is a storyline I wrote based on a character I want to play again. I'll play Galen, who is based on the Nightingale from Hans Christian Andersen's story of the same name. The woman (or man) I want to play Galen opposite of could be a more famous singer in the same genre, or a manager or something else. This could develop into a one-sided romance, or an actual romance, whichever strikes your fancy. At some point, she/ he should try to steal Galen's voice, or swap it.
now your world's moving way too fast it's hard to deal
It sounded like easy money––get close to the brat and then rid the world of another annoying, rich kid. The hard part was already taken care of. Somehow, his employer managed to install him as one of the rich brat's bodyguards.
The rich brat in question seemed weird even from the first time he'd ever seen him. Nathaniel Rathborn-Prideaux, 23 years of age, Caucasian, 6ft even; the skinniest rich kid he'd ever seen, for sure, and despite how he seems to be constantly eating or drinking something, the other bodyguards drop vague hints about how he's anorexic or bulimic, or possibly both. There's just something else that's also just off about him, but the hitman doesn't quite understand that until he sees Nathaniel's shadow act independently of the brat's actions for the first time. That must have been an optical illusion, right?
Over time, Nathaniel and his new bodyguard get closer, and the hitman finds even more things that is amiss with Nathaniel, particularly his tendency to sleepwalk and how most of what Nathaniel does in that state would have been at least life-threatening, if not downright fatal, without him around. That's why he needs so many bodyguards, right? After the hitman––who might have had a change of heart by then, or some sort of hesitation regarding wanting to kill Nathaniel,–––saves a groggy and confused Nathaniel from a few close calls, the hitman starts to get encoded phone-calls from his employer, asking him what is taking so long.
After a few such calls, which always come only when Nathaniel isn't around, his employer threatens to expose his real intention of hanging around Nathaniel to Nathaniel himself. The hitman finds that ludicrous, because why would Nathaniel believe someone he doesn't know over the hitman himself? He soon realises that it isn't quite as ludicrous as the possibility that his employer is actually Nathaniel himself––or, more accurately, Nathaniel's shadow moving his body.
Preference(s)/ Notes: This is, again, a storyline I wrote based on a character I want to play again. I'll play Nathaniel, who is really based on the Shadow from Hans Christian Andersen's story of the same name, and again that doesn't really matter. IM/ PM me or comment here for details on exactly what Nathaniel can do. It would make more sense if the person sent to kill him is male, and I think that the killer having no supernatural powers would make things more interesting.
let hope burn in your eyes we'll love we'll hope we'll die all to no avail
Despite all the covens' in-fighting, the rest of the world, the human world, remains quite oblivious. The world isn't so much unlike our own.
Circle Daybreak and Circle Midnight have never got along, with Circle Twilight sitting on the fence about most things and picking only what would profit them most. One of the things that they never could agree on was the issue with the shapeshifters––what were the natures of these beasts? Circle Midnight's stand is obvious––all shapeshifters who are willing are welcome to be a part of their little society. While Circle Twilight has a few shapeshifter operatives, they are generally not spoken of much, and it's up for debate whether these operatives actually exist. The Daybreakers, however, simply cannot stand the idea of welcoming what amounts to accidents of nature into their ranks.
So, after years of having their objections being voiced––sometimes in rather violent ways,––but going unheard, Circle Daybreak has decided to take matters into their own hands to once and for all eliminate the taint of the shapeshifters from the world. Combining magic and science, a pair of witches were given a very special child, equipped with all the traits that would allow him to do his duty well: start and finish the genocide on shapeshifters. It didn't matter that for all intents and purposes, the child was a shapeshifter as well, simply without the ability to take his other form––a phoenix.
Countless, apparently unrelated killings dominate the front page of the newspapers, and the police are left baffled to the sudden hike of the crime rate. Circle Midnight knows better, however, and they have sent a witch after the phoenix, but somewhere in the middle of things, the Midnighter was "taken care of" and a Twilighter continued his work instead, unbeknownst to Circle Midnight. His instructions were quite to the point: learn more about this new threat, recruit him if he proves to be useful, nullify the threat if he proves to be otherwise. What better way to do all that and make the right decision than to observe the phoenix closely?
The Midnighter operative slipped up and ended up having to get much, much closer to the phoenix than was previously planned, but he's a good actor, so he decides not to abort the mission, yet. Eventually, he came to the conclusion that it's all a matter of nature versus nurture and that he could personally coax the phoenix out of the path the Daybreakers had intended for him. It remains to be seen how well that works, and time is running out, because the Midnighter might have been just a tiny bit biased with what he had decided, and the in-fighting between all three covens are coming to a head again.
Preference(s)/ Notes: Yes, I know a phoenix is usually female. This is also lightly based on the Night World series by L.J. Smith, and when I say lightly, I mean that it started with a germ of an idea sparked by the book series, and then it took on a life of its own. Only the names of the witch covens are the same now. Needless to say, there is no need to have even heard of the book series. I can play either character, though I would prefer to play the phoenix. This is set in the modern day, and yes, it's supposed to be an action-drama thing because I don't have enough lines with that combination of genres. This line can go in a lot of directions.
my lamb and martyr, you look so precious taken;
jophielIt's blasphemy, to even think of comparing oneself to God, but Gadreel has already committed so many blasphemies, another one piled atop his little mountain of them was nothing. He has long let go of the hope of ever returning to Heaven.
Instead of spending the rest of his renouncing his brethren in Heaven, Gadreel has made the realm of His beloved creations his home as well, skipping from one body to another, picking the ones which best suited his purpose: to further his own already astronomical knowledge and to fight the age-old battle between good and evil. The latter would always hold second place in his priority list, however, as egoistical as Gadreel was, but it was in one such battle that he acquired the bloody remains of an angel: Jophiel, the angel of beauty. Unfortunately, there was no longer much beauty to be found in the bits and pieces that Gadreel could salvage, but that didn't matter to Gadreel––he had always had different opinions on what beauty was and was not, and this was his chance to realise that. It would also allow him to repair that grievous flaw all angels seem to have: no will, no freedom, slavish.
His human body was thirteen when he sneaked out one night to retrieve the remains of Jophiel, and when he was finally ready to reactivate the angel remade to his specifications, Gadreel was already forty-three. God only knows how Jophiel would behave, and how well he would adapt to his new presence of a will and completely remade image. Coincidentally, the next battle would take place in that same year.
Preference(s)/ Notes: I would play Gadreel. That is all.
break free of these mind games, all i'm trying to do is modify my plan
Regular, cliché fairytale: a beautiful princess, heiress of one kingdom, a golden prince, heir of another, a betrothal since forever, a covetous and bitter warlock. There is a war, the warlock does the obvious to take control of the two kingdoms, but he is defeated. The prince and the princess would be married in a month. Happily ever after, predictably, is simply a matter of time.
Unbeknownst to the happily oblivious couple, the warlock is far from defeated. The defeat during the war was a diversion, or that is what the warlock would insist on if he ever were asked, but his pride was nothing compared to his ambitions and the lengths to which he would go to obtain what he wanted: the two kingdoms under his rule. A hostile takeover would cause much civil unrest and no ending to the line of "heroes" and opportunistic would-be suitors, anyway, so the warlock decided that he would take over the body of the prince. He could do that, marry the princess, and the kingdoms would be his.
Doing just that would be a gradual process, however, and as the days go by, the warlock decides that he actually likes tormenting the prince; break that will, put fear and sense in that pretty, empty head of his. Taking over the role of the princess instead of the prince would be just as simple, wouldn't it?
Preference(s)/ Notes: I'd like to say that while I would be willing to play either, I'd rather play the prince, but considering how few people would want play the role of the wizard/ warlock given a choice, calling it a long shot would be an understatement. That being said, I think it would be interesting for the prince to start out the way most fairytale princes do––naive and innocent. Plenty of time to get him acquainted with reality. Also, perhaps the embittered warlock has something against the prince or the princess.
I've left behind this little fact: you cannot kill what you did not create
It is often hard to tell when a case has become personal for an agent. Some take their jobs too seriously, for want of something to be more passionate about, and yet others simply have atrocious luck.
For agent Heller, it is the latter: years and years ago, when he had received his first real case, he had been assigned with a senior agent to a serial murder case. One little mistake and he became a victim, the last victim of the sick bastard––they had finally found the evidence to put a face to the rapist-strangler on him: semen and a thumb print. The young agent had been found handcuffed to his bed, brutally raped, bleeding from the trademark motif the murderer cut on his victims' bodies, the agent's gun lying on the floor with the safety still on. His windpipe had suffered enough damage that while he had been saved, his voice was never quite the same.
There had been many obvious suspicious loose ends, but everyone had been happy to close the case. The murderer had been found, convicted and then had been sentenced to life in prison. There had been something that hadn't sat quite right with Heller, but since he hadn't been able to tell what it was, he had had nothing to say.
So, Agent Heller recovered, as much as was possible for him. Years, almost a decade now, identical murders have come to the attention of the bureau. Of course, Heller wasn't assigned to the case.
The killer didn't seem to get the hint, however, because Heller is starting to receive the notes again. The little half-mocking, half-threatening notes that he had received just two months before he came up close and personal with the killer. The handwriting is exactly the same, says the handwriting analyst. Then, the infinitely more personal notes start, full of little details of the attack on him that he had never told anyone, along with photos of him, both current and during the attack.
Preference(s)/ Notes: I can play either. I'd like to keep both characters male, just because it would be more interesting in this case to have it that way. The name can be changed, obviously. It is obviously not a copycat killer; perhaps there were two killers working in tandem, and the leader of the two allowed the other one, the doer, to take the fall. The killer might even be someone of power, directing and watching rather than doing any of the dirty work himself; quite ostensibly, he could even be another agent, playing a dangerous game. As for Heller, he could have coped with that experience in many ways, and might even be married now. In any case, he might have withheld certain details from the new investigating agents because the details were too painful, humiliating or personal. Other details are up for discussion.
your dark intensions your feelings for me what is the reason, the thorn in your eye
He could not understand why no one had ever thought of what he had. Perhaps it was because no one had ever felt so strongly for a person and have that person be entirely oblivious to all that. Screw conventions––screw sanity;––Paul refused to allow things to stay that way.
His plan is fairly simple: arrange for himself and his friend to be kidnapped, to play comforter and to nurture a romantic relationship between the two of them. The only problem was that Paul had to share his plan with a third party, because there wasn't exactly a hotline to call to hire kidnappers and then to pay anonymously, and then get concrete assurance that the hostages weren't going to be harmed. So he got an acquaintance to help him pull it all off, promising the sucker money and favours.
The day to pull off the kidnapping finally comes and everything seemed to be going well. That was, until Paul realised that he had been drugged just as his friend was supposed to be. What seemed like only a second later, Paul woke up to find himself not only in a dingy, dirty cell with person he fancies, but also the acquaintance he had more or less hired to help him pull off the kidnapping. All signs point to their having got into an automobile accident and... What did that have to do with the three of them being in cells?
Paul was about to turn to his acquaintance to shake some answers out of the idiot, of course, but it was then that he was blindfolded and dragged to another cell, beaten up, and then returned to the the first, apparently communal cell. The cycle happened again and again, not only to Paul, but to his two cellmates as well, and as the abuse becomes more, changes in nature, so does the way he views his acquaintance and the person he had been interested in. When the body of the latter is returned to the cell, mangled beyond recognition, only Paul and his acquaintance is left.
Preference(s)/ Notes: No preference on who to play in this one, either. Obviously, the tables have been turned on Paul though he probably will not realise it––the one beating him up when he's blindfolded is his acquaintance, and the people left in the cell when Paul isn't the one being abused could change always and be unpredictable so it doesn't become too obvious to neither Paul nor the other victim. Again, the name can be changed, and this would probably work better with two male characters, but it would be more interesting for the person Paul was interested in to be female. They might all be rich kids with too much time and money on their hands, full of themselves, disdainful of laws and limitations of less "privileged" people.
life goes on though I am trying not to is it too much to ask for your dreams? taken;
catnipper Once upon a time, things didn't go well.
Valery had tried to walk out once, and two centuries later, he had tried once again to walk away; away from his sister, away from his brother, but most of all, away from the desperate urge to please his brother and the frustration of always, always failing. Then again, it was damnably hard to tell if he were failing, given how very unexpressive and unemotional Szymon was. Valery, by contrast, was anything but unexpressive, and when his entirely incestuous love for his brother appeared to be reciprocated only to the point where the blood flowing through their veins mattered, it really wasn't worth the aggravation.
A decade from the second time Valery had tried to walk away, and for the first time, truly give up, they had their happily ever after. Something like a compromise was the regular rhythm of their days, if one can compromise one's very personality at all. However, their past catches up on them very abruptly. That was, that was what really happened, though neither brother were aware of what was really happening.
Szymon, worried out of his mind but unable to admit that even to himself, finally found Valery two weeks after his disappearance. The young man appears to be Valery, anyway, because he claims not to know Szymon at all. What he isn't telling Szymon is that he can't recall anything beyond the last two weeks, though Szymon seems familiar somehow. Familiar and dangerous to him. Having never got along but for the fact that they were brothers, it seems that this time, Valery would truly to be leaving, and leaving for good.
Preference(s)/ Notes: None. Already in play and will never be played with another person even if it dies.
and they want us to grow up we don't want to get a job we all need a decent rock taken;
catnipperThey would make the most cliché (anti-)couple if they could only stay in each other's presence willingly for more than a fraction of a second: Bradan a vampire, Mayerl a vampire hunter.
According to Bradan, Mayerl is a deranged human whose hobby is complaining and being unnecessarily mean (especially his tendency to ruin her nice clothes!) and the impression Mayerl has of her is no better. To Mayerl, Bradan is nothing like any of the vampires he had met (and subsequently killed) in all the worst ways; the most unlikely rubbish comes spewing out of her mouth, and she simply doesn't stop yapping. Quickly enough, he went from wanting to shoot her to shut her up to wanting to shoot himself just so he didn't have to listen to her any longer.
Saying that Mayerl and Bradan were an unlikely pair is an underestimation of near-astronomical proportions.
As if waking up in a warehouse for God only knows what reason, and then having to offer the vampire his blood in exchange for her help in lugging him to a hospital wasn't bad enough, they both of them find out very quickly that something is forcing them to stay together quite literally; neither can physically step out of a certain range of the other, and when one is injured, the other feels the effects as well. Questions abound, and as galling as it was, differences have to be put aside in favour of getting to the bottom of all the strange changes that came with the inexplicable bond that had been imposed on them.
Preference(s)/ Notes: None. Already in play and will never be played with another person even if it dies. No one can write a vampire more interested in her own clothes than her well-being the way Ally can.
finally I find when I lose control inside my body crumbles
It is an honour to work with a scientist that has become a bit of a celebrity, what with his recent betterment of a few age-old scientific facts that have always been taken for granted––accuracy, precision and plain complete knowledge were always overlooked for the flashier new discoveries. There are, of course, the obligatory weird rumours surrounding Dr. Mihangel Edyvean, but no one with an ounce of sense pays attention to them, do they?
However, it goes from an honour to being just fucking bizarre when said scientist picks a bartender, of all people, to be his protege. The bartender isn't all that thrilled either, but money speaks, and in this case, it speaks very loudly indeed. There was also the fact that the bartender's job is getting to him, anyway––all the stress and loud music is playing havoc on his hearing and making him see things.
Dr. Mihangel Edyvean seems to keep to his side of the bargain very well: it was all work with him, even though the bartender is very often quite lost. A month into the job of being something of a glorified lab assistant, and the bartender's suspicions were finally realised: yes, Dr. Edyvean is indeed bloody insane, talking about how the world is not as it seems, and neither is reality. At least, it sounds crazy until the bartender starts to see what Dr. Edyvean is describing, as if there were a thin film over everything in the world, hiding what was really under it. If Dr. Edyvean is full of it, then the bartender had been hallucinating heavily lately, and no one wants to believe that.
Just when the bartender starts to become caught up with all the extreme science, which is really another name for alchemy and transmutation, Dr. Edyvean loses it completely for a few days, recognising no one and far from behaving as his usually calm and highly-disciplined manner. When he finally recovers after wrecking most of his house, the truth finally comes out: Dr. Edyvean is suffering from a malady he refuses to explain, and the bottom line is that he is trying to pass on his knowledge to another person who can see beyond what he calls "consensual reality," before he loses the clarity of mind to do so. Consequently, his protege was intended to be his executioner as well if he becomes a threat to "reality" when he finally stops being able to recover from his bouts of insanity.
Preference(s)/ Notes: I would be playing Mihangel Edyvean (and yes, he is an alchemist/ sorceror/ warlock/ whatever you want to call it), and this would be set a decade or so in the future, and it would be a science fiction/ high fantasy line––yes, you can mix the two! No space ships or the like, just pseudo-science. The bartender can either be male or female, I'm not picky about that. It doesn't even have to be a bartender, just someone completely incongruous and someone in need of money.There are a few more specifications, but I'd rather discuss those later. This is also based a tiny bit on MtA, but I think no knowledge of MtA is better, really.
so where do I sail? a ship losing control the ghost ship wanders far
It's ridiculously simple, though the tabloids are all over it, citing that he is trying to warm the public up to his eventual coming out of the closet. Others are claiming that he's trying to endear himself to the GLBT community that he'd somewhat alienated with his flippant remark about how he wasn't into getting buggered up the *** but people were free to do whatever they wished. Thierri can't have everything his way, but the way he sees it, an actor without a job is just a couple of steps below an actor with a slightly punctured ego. He could weather it all, no problem. Playing a homosexual man couldn't be that hard, really.
That was, Thierri thought so until he found out that he was acting opposite an openly homosexual actor. Suddenly, the most affectionate or intimate scenes come that much harder, and no matter what everyone tells him, kissing a man is not at all like kissing a woman.
Preference(s)/ Notes: This is a pretty generic line and isn't particularly original. I left it pretty vague near the end because it can go any number of ways, be it romantic or not. The only parts I wouldn't want changed is the part where both characters are actors, playing on-screen lovers, with one being homophobic and the other openly homosexual.
nothing you can say that's gonna make me walk away I promise you I'm gonna stay taken;
morningwoodIt all started with a deal.
Noah didn't want power and the adoration of the world, and Elias hardly asked for the child to sign over his human soul in his own blood. It was late, the boy had wandered down a road he had never seen before, and when a mysterious man offered him anything he wished for, the boy asked tearfully only to be guided home. In exchange for that, Elias would come back to reclaim him when he was older. All right, so perhaps Elias had more or less asked for the boy's soul, but he was hardly the devil––far from it.
So, the man led the boy home, and quietly, following him in the form of the growing shadows of the deepening night, Elias made sure that Noah reached his home safely. He should have left the boy on the threshold to the "real" world, just as he should have left the boy alone when Noah was on the doorstep of his home, but one more minute became another day, and in the blink of an eye, Isaiah had been watching Noah from the shadows, watching every second of the boy's life.
None of Elias' brethren understood what had gone wrong with Elias, but they knew how it would end, and so did Elias. This time would be different, though, he told himself. Where Julian had simply forced himself into Jenny's life, Elias would give Noah a choice: give him a chance, or fulfill their contract. Give him a chance to do what, however, Isaiah never really figured out, and that really wasn't a choice, now was it?
When Noah turned eighteen, Elias decided that the boy was old enough to make his choice, so he showed up on his doorstep, looking exactly the way he did years and years ago, again offering the boy all of the world, and presenting Noah with his two choices. It all sounded insane, of course, but how could Noah write it all off as a bout of madness––whether on Elias' part of his own,––when Elias could do what your average bloke couldn't, and is there just something not quite right with the colour of his eyes, the eerie and unrealistic perfection of his skin?
Preference(s)/ Notes: Based on L. J. Smith's the Forbidden Game trilogy. Julian and Jenny belong to her, and so does the concept for the Shadowmen, but everything else is mine. You don't have to know anything about this trilogy. I can play either character. This is definitely a romantic line, though it can remain one-sided (Noah could just not reciprocate Elias' feelings). It can be drama-heavy, fluffy, or a combination of the two, because while Elias is old (though he is one of the youngest of his kind), he isn't and has never been human, so his time amongst humans might be a bit bumbling or just plain ridiculous.
Themes/ Plot Elements/ Fandoms
- L.J. Smith books.
- Anita Blake: Vampire Hunter books. - Mercedes Lackey's Valdemar series. - "canon" angels and fallen angels; you know, the Grigori, the two falls, the named angels/ fallen angels.
- gender identity issues.
- religious issues.
- normal people in extraordinary circumstances.
- theoretical science.
- steampunk/ high fantasy; ever played Arcanum: of Steamworks and Magick Obscura?
- the whole "magic is extremely advanced science" angle.
- possession, demonic or otherwise.
- action-drama, violence, gore (all with plot, of course).