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APPLICATION. ( erku )
Jun. 30th, 2000 05:55 pmPlayer Info:
Name: Kitty
Over 18?: drastically
Contact: pm or![[plurk.com profile]](https://plurk.com/favicon.ico)
meowed
Character Info
Name: Carmilla Karnstein, aka Mircalla von Karnstein
Canon: Carmilla Webseries
Canon Point: End of S1, before being recovered after the final fight (so pre kiss)
Age: 340ish, though she hasn't aged past 18
Background:
❝ Posterity doesn't care. I should know. I live in it. ❞
Personality: Age inspires indifference. You see the repetition of the world, the way cultures and civilizations rise and fall. How the world changes while somehow staying the same, circling back to the same place it always finds. Once you've watched the same show on repeat long enough, you get tired of the menial moving of pieces. Or, so Carmilla would like for people to believe.
She plays at a dismissive, disinterested girl, and she plays at it quite convincingly. When in the guise of the philosophy major she seems inspired most by hedonism, and failing that what sparks her interest at the time. She's a selfish creature and spares little thought to those around her unless they can be of use to her. She's mean and she's unsympathetic, unless it serves her. She's an absolutely horrible roommate, leaving her hair in the drain and borrowing clothing items and various bits of bedding because it makes her life easier and she's not inclined to worry about anyone else.
This is not to say she's entirely without her charms. You sort of need some to survive centuries. Carmilla is beautiful and smart and witty, and she uses all of these facets to engage when she wants to. Occasionally with a girl she's enjoying the company of, occasionally of a professor that she wants to impress, occasionally on a meal she intends to make and need to get close enough to sample. There is often an emptiness to it, though, because it's all aimed toward survival instead of a genuine place. She goes through motions because she's used to a slow rotation of faces that blend and fade with time. She doesn't expect to maintain any of her connections and perhaps does not even desire to, so why put more effort into them than she needs to?
That said, it is an incomplete game. Occasionally a person gets through the dislike and indifference. It's rare, but it happens, more than Carmilla cares to admit. She is a romantic with her bleeding heart scarred over with age, yet it is far from desiccated. She doesn't see the need to kill if she can avoid it. She'd rather not hurt if she doesn't have to. She still finds something to admire in innocence, even if hers disappeared a long time ago. Carmilla can find figments of humanity that she is engaged by and when that happens she tends to show a more true version of herself.
One that can be affectionate, one that can be playful, one that can be thoughtful and kind. It isn't a side she shows to just anyone, and often her own removal from truly connecting with others is a perfect way for her to avoid getting close enough to care. However, when she does? She does intensely, with her entire self. Be it the endearing qualities, like subtle shows of affection, genuine thought and interest in the other's life or concern and worry for their health, or the less-than-endearing ones, like her willingness to hurt and maim and even kill to protect them. Her absolute acceptance in sacrificing others to protect those that matter most.
In the end, that violent and vicious side of her exists. She often references it as a threat, a willingness to harm or murder or hunt or anything on the spectrum, and sometimes it can seem just that, a threat. Pushed to enough extremes, though, it is far from just a frightening concept, it is a realized action. Carmilla is not incapable of murder, of violence, or any shade of violence that can help her, silence her pain, or protect those that matter to her. She'd rather avoid it, she will likely feel guilt over it after, yet she will do it if she feels she has to or if she feels she needs to.
Not because she thinks it is right, she knows it isn't. Still, it's too late for her to pretend that she hasn't already traveled those dark and bloody paths. She has regrets for the violence and pain she's caused, but she can't erase it nor pretend it hasn't happened. Carmilla feels she's already contaminated herself, and does not have any illusions that she can come back from the lows she's hit. Even when she tries to reverse some of the damage, or when she shows how guilty she really feels for what she's done. It is too late for her to come back, and what is another life or another drop of blood on her hands when she's already drowned in it?
Carmilla is a complicated creature. She boasts perspective many can't thanks to her age, yet it is hard to argue that she uses that perspective for anyone but herself. She is not incapable of seeing the beauty of the world — original shows in Paris, a lovely day and the sun on her skin, the connection of another person under her cold fingers — she just constantly matches it with the ugliness. She often sees existence through its flaws instead of its brightness, but when she finds a spark of something that inspires her? There is nothing she will not do to protect it.
Powers:
VAMPIRISM. Carmilla is an old vampire, and that affords her some of the usual vampire skills. Super strength, super speed, super reflexes, you know the drill. she heals quickly if she's well fed, and the fed in this instance is blood (though she does still enjoy food, chocolate especially). She is more resistant to damage and is stated that she will survive most anything unless she loses her heart or her head. she has no weakness to garlic or sunlight, like some vampires, though she is burned by genuine holy water, as in properly blessed. She's fine with crosses, as she wears one sometimes for her goth aesthetic and remains unfazed. She does not need to be invited in to enter a residence.
SUGGESTION. For those particularly feeble of mind, Carmilla is able to persuade them towards her wishes. For example, she convinced someone she attacked that he didn't need to be upset about it, and then he wasn't. It requires the low hypnotic voice and eye contact, and it doesn't always work. She doesn't seem to use it much, and only on less-than-intelligent individuals, so it's likely it isn't effective on stronger willed people. I don't intend to use this much since Carmilla used it like twice in canon, it's clearly not her sorta thing. She usually just does the bad bullshit and lets people be mad about it. That said, if it ever did come up, it'd only be with explicit permission!
DREAM INFLUENCE. Anyone who sleeps around her is prone to having nightmares. Carmilla has no real control over this and it doesn't even indicate she has foul intent, it just happens. It seems to be something sprung from the original book. The dreams are usually about drowning in blood or giant cat monsters. Dreamcatchers seem to more or less prevent these, or the show forgot about it past s1. ANYWAY,
MONSTER FORM. Speaking of cat monsters, she can turn into a cat monster. Think panther. Big enough to drag jocks across the quad in her jaws. This is apparently from the original novella, so, that's something.
TELEPORTATION. She can poof around in black smoke. She can't teleport anyone else, just herself. Range is not clearly stated canonically, but I know this is a nerf ability in beacon so I am fine with whatever limitation you want on this one!
PYROKINESIS. She usually uses this to light candles to mood light her brooding, but she also set a huge leather book on fire.
PSIONIC SCREAM. Vampires of a certain age in Carmilla's canon have the ability to let out a psionic scream, which disorients or knocks out others. That said, she's young enough that she has no control over this ability and more or less it hurts people's ears when she is especially upset.
POTENTIAL NERFS. I don't believe any of her powers are gamebreaking. Let me know if there are any nerfs that need to be put in place! I'm happy to limit her teleportation to explored game areas/short distances. She also has opt in/out for her powers.
Inventory:
— The clothes on her back
— The Blade of Hastur, which is actually kinda useless
Samples:
TDM thread, complete with network & action. but since i'm not sure any of those got to length, here are some alternate samples: LOG TEXT
Augury
Name: Kitty
Over 18?: drastically
Contact: pm or
Character Info
Name: Carmilla Karnstein, aka Mircalla von Karnstein
Canon: Carmilla Webseries
Canon Point: End of S1, before being recovered after the final fight (so pre kiss)
Age: 340ish, though she hasn't aged past 18
Background:
Personality: Age inspires indifference. You see the repetition of the world, the way cultures and civilizations rise and fall. How the world changes while somehow staying the same, circling back to the same place it always finds. Once you've watched the same show on repeat long enough, you get tired of the menial moving of pieces. Or, so Carmilla would like for people to believe.
She plays at a dismissive, disinterested girl, and she plays at it quite convincingly. When in the guise of the philosophy major she seems inspired most by hedonism, and failing that what sparks her interest at the time. She's a selfish creature and spares little thought to those around her unless they can be of use to her. She's mean and she's unsympathetic, unless it serves her. She's an absolutely horrible roommate, leaving her hair in the drain and borrowing clothing items and various bits of bedding because it makes her life easier and she's not inclined to worry about anyone else.
This is not to say she's entirely without her charms. You sort of need some to survive centuries. Carmilla is beautiful and smart and witty, and she uses all of these facets to engage when she wants to. Occasionally with a girl she's enjoying the company of, occasionally of a professor that she wants to impress, occasionally on a meal she intends to make and need to get close enough to sample. There is often an emptiness to it, though, because it's all aimed toward survival instead of a genuine place. She goes through motions because she's used to a slow rotation of faces that blend and fade with time. She doesn't expect to maintain any of her connections and perhaps does not even desire to, so why put more effort into them than she needs to?
That said, it is an incomplete game. Occasionally a person gets through the dislike and indifference. It's rare, but it happens, more than Carmilla cares to admit. She is a romantic with her bleeding heart scarred over with age, yet it is far from desiccated. She doesn't see the need to kill if she can avoid it. She'd rather not hurt if she doesn't have to. She still finds something to admire in innocence, even if hers disappeared a long time ago. Carmilla can find figments of humanity that she is engaged by and when that happens she tends to show a more true version of herself.
One that can be affectionate, one that can be playful, one that can be thoughtful and kind. It isn't a side she shows to just anyone, and often her own removal from truly connecting with others is a perfect way for her to avoid getting close enough to care. However, when she does? She does intensely, with her entire self. Be it the endearing qualities, like subtle shows of affection, genuine thought and interest in the other's life or concern and worry for their health, or the less-than-endearing ones, like her willingness to hurt and maim and even kill to protect them. Her absolute acceptance in sacrificing others to protect those that matter most.
In the end, that violent and vicious side of her exists. She often references it as a threat, a willingness to harm or murder or hunt or anything on the spectrum, and sometimes it can seem just that, a threat. Pushed to enough extremes, though, it is far from just a frightening concept, it is a realized action. Carmilla is not incapable of murder, of violence, or any shade of violence that can help her, silence her pain, or protect those that matter to her. She'd rather avoid it, she will likely feel guilt over it after, yet she will do it if she feels she has to or if she feels she needs to.
Not because she thinks it is right, she knows it isn't. Still, it's too late for her to pretend that she hasn't already traveled those dark and bloody paths. She has regrets for the violence and pain she's caused, but she can't erase it nor pretend it hasn't happened. Carmilla feels she's already contaminated herself, and does not have any illusions that she can come back from the lows she's hit. Even when she tries to reverse some of the damage, or when she shows how guilty she really feels for what she's done. It is too late for her to come back, and what is another life or another drop of blood on her hands when she's already drowned in it?
Carmilla is a complicated creature. She boasts perspective many can't thanks to her age, yet it is hard to argue that she uses that perspective for anyone but herself. She is not incapable of seeing the beauty of the world — original shows in Paris, a lovely day and the sun on her skin, the connection of another person under her cold fingers — she just constantly matches it with the ugliness. She often sees existence through its flaws instead of its brightness, but when she finds a spark of something that inspires her? There is nothing she will not do to protect it.
Powers:
VAMPIRISM. Carmilla is an old vampire, and that affords her some of the usual vampire skills. Super strength, super speed, super reflexes, you know the drill. she heals quickly if she's well fed, and the fed in this instance is blood (though she does still enjoy food, chocolate especially). She is more resistant to damage and is stated that she will survive most anything unless she loses her heart or her head. she has no weakness to garlic or sunlight, like some vampires, though she is burned by genuine holy water, as in properly blessed. She's fine with crosses, as she wears one sometimes for her goth aesthetic and remains unfazed. She does not need to be invited in to enter a residence.
SUGGESTION. For those particularly feeble of mind, Carmilla is able to persuade them towards her wishes. For example, she convinced someone she attacked that he didn't need to be upset about it, and then he wasn't. It requires the low hypnotic voice and eye contact, and it doesn't always work. She doesn't seem to use it much, and only on less-than-intelligent individuals, so it's likely it isn't effective on stronger willed people. I don't intend to use this much since Carmilla used it like twice in canon, it's clearly not her sorta thing. She usually just does the bad bullshit and lets people be mad about it. That said, if it ever did come up, it'd only be with explicit permission!
DREAM INFLUENCE. Anyone who sleeps around her is prone to having nightmares. Carmilla has no real control over this and it doesn't even indicate she has foul intent, it just happens. It seems to be something sprung from the original book. The dreams are usually about drowning in blood or giant cat monsters. Dreamcatchers seem to more or less prevent these, or the show forgot about it past s1. ANYWAY,
MONSTER FORM. Speaking of cat monsters, she can turn into a cat monster. Think panther. Big enough to drag jocks across the quad in her jaws. This is apparently from the original novella, so, that's something.
TELEPORTATION. She can poof around in black smoke. She can't teleport anyone else, just herself. Range is not clearly stated canonically, but I know this is a nerf ability in beacon so I am fine with whatever limitation you want on this one!
PYROKINESIS. She usually uses this to light candles to mood light her brooding, but she also set a huge leather book on fire.
PSIONIC SCREAM. Vampires of a certain age in Carmilla's canon have the ability to let out a psionic scream, which disorients or knocks out others. That said, she's young enough that she has no control over this ability and more or less it hurts people's ears when she is especially upset.
POTENTIAL NERFS. I don't believe any of her powers are gamebreaking. Let me know if there are any nerfs that need to be put in place! I'm happy to limit her teleportation to explored game areas/short distances. She also has opt in/out for her powers.
Inventory:
— The clothes on her back
— The Blade of Hastur, which is actually kinda useless
Samples:
TDM thread, complete with network & action. but since i'm not sure any of those got to length, here are some alternate samples: LOG TEXT
Augury
| Opt-In Kinks: | Opt-Out Kinks: |
| Adultery, cuckolding; Age difference, ageplay; Anonymity; Bites, bruises; Blindfolds; Bloodplay; Body worship, fetishization; Bondage; Breathplay; Breeding, in heat; Clothing; Competition; Dirty talk; Discipline; Domination and submission; Drug, alcohol use; Edgeplay; Endurance; Exhibitionism; Feathers, fur, velvet, silk; Flexibility, contortionism; Flogging, whipping, caning; Gags, silence; Hair pulling; Handcuffs; Hands, fingers; Humiliation, degradation; Hurt, comfort; Jewelry; Kissing; Latex, rubber, leather; Leashes, collars; Licking; Masturbation; Messy; Mirrors; Multiple orgasms; Multiple partners; Multiple penetration; Obedience; Objectification; Oral fixation, oral sex; Orgasm control, denial; Orgy, decadence; Orientation play; Pain play; Phone sex; Photography, videotaping; Possessive, leaving marks; Power play; Prostitution; Public; Rimming; Roleplay; Rough sex; Rubbing, grinding; Scratching; Sex toys; Sexual exhaustion; Size difference; Snuff, necrophilia; Sounding; Spanking, paddling; Strip tease, exposure; Teasing; Temperature play; Tickling; Vehicles; Voyeurism; Water; Wax; | Altered state of consciousness; Anal; Authority figures; Begging; Blades; Bodily secretions; Body alteration, injury; Branding, burning, scarring; Cages, confinement; Chastity, virginity; Coercion, blackmail; Consent play; Costumes; Crossdressing; Cuddling; Electricity; Emotion manipulation, altered mood; Fighting, wrestling; Fisting; Food; Gender play; Gore, vore, guro; Immobilization, mummification; Mechanical, technological; Medical play; Negotiation; Pervertibles; Piercings, needle play; Ritual; Sensation play; Service; Suspension; Taboo; Tattoos; Writing; Xenophilia |
