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Dec. 21st, 2023 08:10 pmOOC
Player Name: Dove
Pronouns: Any binary pronoun is fine
Player Age: 18+
Player Timezone: GMT-6
Anything you MUST have warnings for? No.
Other Characters in Game: N/A
Plurk (if you have one):![[plurk.com profile]](https://plurk.com/favicon.ico)
hellzapoppin
Other Contacts: PM this journal, Discord x.files
Invite source: Requested from mods
IC
Character Full Name, Western Order: Beth Greene - I tend to use Elizabeth Annette Greene as a full name, for the sake of RP, but canonically we only get "Beth."
Character Chronological Age: 18
Character Visible Age, if different: N/A
Character Gender: Female
Canon: The Walking Dead
Canonpoint: At the end of 05x08, "Coda." I can take her immediately before her death or after it, depending on what works best for the game.
ONE paragraph synopsis of character and canon premise:
Beth Greene is an 18-year-old girl whose life went from "normal" to "zombie apocalypse" two years ago. Since the turn, as she calls it, she and her family - which has swelled from parents and siblings to include unrelated but beloved survivors better known as the cast of The Walking Dead - have struggled to survive, first in her family's farmhouse, and then in an abandoned prison. In that time, she's grown up fast: she's been the primary caretaker of an infant, lost both of her parents in violent conflicts, and nearly died herself on several occasions. Most recently, she's been an indentured servant at a hospital where brutality reigns. Beth's become harder since the beginning of the end, but she's also managed to hold onto a notion of faith and the need to do good, no matter the cost. She's brave, loving, and willing to kill - and she's coming in with enough mistrust that she just might feel she has to.
Character Personality:
Community oriented
Beth has historically been an affectionate, friendly girl, the kind of friend you invite to high-school house parties even though she doesn't drink. When someone becomes a part of her group, they'll have her trust implicitly. She raises a baby, Judith Grimes, from infancy up until they're separated, out of love for Judith's late mother as well as for Judith herself. She tells another character that she's "always wanted a child" and never expresses any discontent with being left with the baby near-constantly; however, there's no denying the fact that caring for a newborn at sixteen or seventeen is a huge task, one that benefits everyone else in their group. Even in toxic communities, she's capable of finding allies and caring for others; when she sees abuse committed against others, it affects her and influences her choices.
Empathic
Beth listens to others' troubles and tries to help them with them where she can. More importantly, she has a good sense for reading people, capable of cutting to the heart of what they're feeling, for good or ill. It's not an instant thing - she needs to be around them long enough to see how they tick - but when she's got someone, she's really got them. She can spot attempts at manipulation when they come from her sister; eventually, she can do the same after being burned by strangers. When a friend has a drunken, violent outburst, she can put the reason into words. In a kinder world, she'd probably just be socially well-adjusted; in the place she comes from, being able to see people clearly, for good or ill, is a life-saving skill.
Sense of justice
Beth retains some semblance of faith even after losing multiple family members and homes, though it isn't clear whether it's in the God she was raised to believe in or in other people. Either way, what comes with it is a sharp sense of right and wrong - and while that understanding of what is just has evolved away from the Ten Commandments, the weight of it remains. Life is valuable; individual people are valuable. People who do terrible things for the sake of cruelty, self-aggrandizement, or greed should be stopped - permanently, if nothing else will work. Doing what's right, rather than what's easy, is paramount. She articulates her beliefs most clearly in her final episode: "You keep telling yourself you have to do whatever it takes, just until this is all over, but it isn't over. This is it. This is who you are and what this place is until the end." She acts with the assumption that no one is coming to save humanity; if they're on their own, they have to take care of each other.
Stubborn:
On the one hand, it's good to be stubborn when you're surrounded 5000-to-1 by things that want to kill you. On the other hand, Beth's undeniably bull-headed and willing to argue when she disagrees with a person - and if she wants to do something, heaven help the person getting in her way. She gets into a screaming match with her older sister when Maggie tries to convince her not to kill herself. She gets into another loud argument with a friend when he won't help her find alcohol. She gets into a quieter but still intense argument with a person holding her captive, even knowing that it might put her safety at risk. When she gets an idea into her head, she holds onto it, whether that's I'm going to work hard to make my prison cell into something approaching a real bedroom or I'm going to do something stupid and dangerous, because it might make me feel better.
Pragmatic
Beth's learned over the last two years - and especially in the last few weeks - that sometimes the ends really do justify the means. Two years ago, she would have been horrified at the idea of killing people. These days, she might have complicated feelings on the subject, but that doesn't mean she won't do it. The world she lives in is a hard one, and surviving frequently requires hard choices. If someone's abusing others, if there's no hope for their redemption, then they might be better off dead. On the other hand, if someone's doing something fucked-up but ultimately harmless, she isn't necessarily going to stop them. When a friend takes a golf club to a zombie and keeps swinging long after it drops, she tells him to "beat up on walkers if that makes you feel better." If it means he's more likely to let her do the fucked-up but (hopefully) harmless thing she wants to do - and if it makes him feel better, because that would be nice, too - she'll deal with it.
Holding on
Mental illness isn't a personality trait, but - especially in a world without standardized medical care - the ways in which a person responds to a situation beyond their control are. For Beth, after the world's end, grief, depression, and trauma are always at her door. After her suicide attempt, she tries multiple other ways of handling loss: deciding she "doesn't cry anymore" and trying to focus on the time she had with a person; arguing, crying, burning her diary, and getting drunk; and pondering the void in the shape of an empty elevator shaft. For her, sitting at the edge of the darkness, her legs dangling in the empty space, has two potential meanings. That dark hole is literally a way out of the building she's trapped in, but - especially once it's used to kill another character - the drop is an escape from everything. She doesn't give into whatever thoughts might come to her. Beth's spent two years white-knuckling her way through the apocalypse, functioning in great part because there's no alternative: "All I wanted to do today was lay down and cry, but we don't get to do that."
Character History: Beth's the youngest of three children, the "ours" in a Yours, Mine, and Ours situation. Her life was a fairly normal one up to age sixteen; what drama there was centered on the petty vicissitudes of growing up.
And then the world ended.
For a while, Beth and her family thought that zombies were people experiencing some new sickness, and maybe they could eventually be cured. They kept theirs - neighbors, friends, and most notably, Beth's mother and older brother - in the barn on their farm, feeding them chickens and waiting for the chance to bring them 'back.' Finding out that was never going to happen involved a gunfight, where Beth saw half her family (the dead half, fortunately) shot. When she went to hold her mother's body, thinking it was safe, she was attacked by the corpse. Terrified by the possibility of being killed by the dead, Beth became suicidal and tried to convince her sister to agree to a suicide pact. It didn't work. When it was clear Maggie wouldn't die with her, she tried to commit suicide on her own but lived through the attempt - and eventually found a way to live with her grief and fear.
Life went on at the farmhouse, until it was overrun and they were forced to leave it. Then life went on the road, and eventually to an abandoned state prison, where she became the primary caregiver to an infant whose mother hadn't survived the birth. There were plenty of difficult circumstances - her father lost a leg, they were menaced by another group led by a man who assaulted her sister, there was a terrible illness - but there were peaceful moments, too. She had time to get a new boyfriend, then to lose him, and to see baby Judith grow from a newborn to a chubby-cheeked little thing capable of sitting up and playing with toys.
Around two years after the first emergence of zombies, though, that other group finally destroyed the prison, decapitated Beth's father in front of her, and sent their group scattering in all directions. Beth was separated from nearly everyone she knew and loved. She and another survivor, Daryl Dixon, went on alone, first at each other's throats, and then - with the help of a lot of moonshine and a little arson - as allies.
While they were staying in a funeral parlor, talking vaguely of making it their permanent home, zombies overran the place, and Beth was hauled into a car that sped her off to the Grady Memorial Hospital in Atlanta. There, she was told that she owed a debt to the hospital. They'd saved her and treated her injuries, and she needed to work off the cost of it. After making friends with a fellow patient, she attempted to escape with him, but was hauled back in. She was manipulated, beaten, sexually assaulted, and verbally abused while she was there; she struggled with more thoughts of suicide and killed living people for the first time.
Some of her community eventually found her and made a deal to get her back. On her way out, though, Beth knew that her absence wouldn't change anything for the people still trapped inside. She stabbed the hospital's leader with a pair of surgical shears. It wasn't a killing blow, and the leader of the hospital shot Beth in the head. She died immediately, never knowing whether her sister and Judith survived the destruction of the prison.
Physical Details:
• 5'3", very slight build
• She has two scars on her face, one above her right eye, and one below her left
• Slight Southern accent (her actress is from Nebraska, she's trying her best)
Does this character use any disability aids? What are they and what is their purpose? No.
Is the character bringing a pet? Describe them. No.
Inventory upon arrival:
Note: At the point of Beth's death, she doesn't own anything except the clothes on her back and a knife. I've suggested two other objects that could theoretically still exist within the world of her canon, but they aren't among her current possessions. If that doesn't work, I'm perfectly content for her to come into the game with only the knife from home.
1. A four-inch hunting knife with sheath
2. A small photo album of pictures of the Greene family pre-apocalypse
3. An acoustic guitar
Suitability
What elements of the game are you most interested in engaging with?
First and foremost, I'm interested in the historical context and the opportunity to put my knowledge of the mid-20th century to use. This is a time period I both love and am very familiar with, and my primary interest is in the cultural aspects of the era. Getting to drop in random references to the Percy Faith Orchestra or beef fizz, or maybe the Seventeenth Summer Prize for a particularly self-indulgent treat, is exciting.
Beyond that, I'm really interested in the possibility of homegrown horror. One of the unique aspects of the game is the way I'm guessing we're looking at some modern-era gothic/domestic horror opportunities along the lines of du Maurier and Levin. The way the notions of family and community are embedded into the terrible things that are happening feels both different from and more intriguing than the way horror games in dwrp are generally set up.
How will your character integrate into the setting? How do you see them dealing with life in Sweetwater? What are your plans for them in this game?
Because she's 18 and her role within canon is aligned with the adult characters rather than the child characters, I'd like her to be slotted in as a wife. She's coming directly from a setting where the way to survive was to play nice and then plot an escape on the down-low - and murder people, once escaping didn't work - so her initial inclination is to try to blend in while looking for potential allies. Her father was much older than average (the actor's other best-known role was Dick Hickock in In Cold Blood, he was OLD), so she has a vague sense of what is and isn't allowed in this setting from stories of his youth.
My plan for her is to try to get to the bottom of this, whatever that might look like, and to get home. She's ultimately unable to save herself in canon - she never leaves the hospital where she's trapped - but if she could here, I think that would be a great arc. And, let's be real, I'm interested in pulling the trauma string and seeing what happens; Beth's been through a lot, and potential new trauma intersects with her existing trauma in ways that are really intriguing to me.
Why did you choose this character specifically for this game?
Beth's final arc is about being set down into a place that ought to be safe but isn't. The hospital she's living in is full of petty, power-hungry people who get off on controlling the vulnerable patients in their care. It forces Beth to clarify a lot of her beliefs: When is it moral to kill someone living? What is power worth? When no one's watching what you're doing, does being good matter? What's your safety worth if other people are going to suffer in your absence? A ton of character development happens, but she dies before she gets to use it outside that context.
As a result, I want to set her down into another place that ought to be safe but isn't, and I want to see how she handles it.
What are your favorite elements of horror?
The horror elements that hold pride of place in my heart are really the eerie things, uncanny moments, the unexplained, anything designed to unsettle a person's understanding of society (or the universe as a whole) and their place within it. I enjoy ghost stories, cautionary tales regarding human behavior, and experiences that don't resolve easily. Some of these are more horror-inflected than straight horror, but stories in this vein that I really love include: The Innocents (1961), Shirley Jackson's We Have Always Lived in the Castle, M.R. James' "Oh, Whistle and I'll Come to You, My Lad," Picnic at Hanging Rock, Eraserhead, Penda's Fen, various iterations of Dracula and Frankenstein, Cat People, Carnival of Souls, Island of Lost Souls (and The Island of Doctor Moreau of course), Us, and Paul Samuel Jacobs' Born Into Light.
That said, I can take a fair amount of violence - stuff like Hostel or Peter Jackson's 80s horror movies are too gross for me, but Halloween, Hellraiser, and The Thing are all high up there on my list of all-time favourites.
Do you understand that Silent Spring's purpose is horror, not domesticity/found family, and that the following themes (nuclear panic, the Red Scare, conformism, sexism and restrictive gender roles, heteronormativity/gender binarism, surveillance, gaslighting, brainwashing/propaganda, disinformation, pollution/contamination, poisoning, loss of control, smoking, alcohol culture, and uncanny valley) cannot be opted out of?
Yes.
Do you agree to accept the potential IC consequences (social shunning/ostracism, potential exclusion from neighborhood social events, up to brainwashing, sleep deprivation torture, and nonconsensual haloperidol injection) in full for your character's actions in game?
Yes.
Housing Preferences
What is your usual tagging speed? Tagging patterns?
I try to get at least one tag in a thread each day, though I'm not as available on Mondays. If I'm falling behind, I try to reach out to people to talk about the best way to handle a thread - if we want to talk out the end, keep going with it a while, etc.
What activity level is ideal to you in a partner?
If we're playing close CR, I'd like us to be in touch a couple times a week at minimum - with the note that "in touch" might be as little as trading a couple of memes and linking each other to stuff that's happening - and to get at least a few tags every week. If there are delays of over a week between tags on a regular basis, it's generally not a good fit.
What is your timezone? How important is it that the other players in the household be in a similar timezone?
I'm GMT-6, and as long as everyone's tagging at some point every few days (or letting everyone know that it won't be happening), I don't care when it's happening.
Would you like a household with a child, without, or do you have no preference?
No preference.
Are you okay with being placed with a character/character(s) that would impact your character's reputation?
Yes.
Player Name: Dove
Pronouns: Any binary pronoun is fine
Player Age: 18+
Player Timezone: GMT-6
Anything you MUST have warnings for? No.
Other Characters in Game: N/A
Plurk (if you have one):
Other Contacts: PM this journal, Discord x.files
Invite source: Requested from mods
IC
Character Full Name, Western Order: Beth Greene - I tend to use Elizabeth Annette Greene as a full name, for the sake of RP, but canonically we only get "Beth."
Character Chronological Age: 18
Character Visible Age, if different: N/A
Character Gender: Female
Canon: The Walking Dead
Canonpoint: At the end of 05x08, "Coda." I can take her immediately before her death or after it, depending on what works best for the game.
ONE paragraph synopsis of character and canon premise:
Beth Greene is an 18-year-old girl whose life went from "normal" to "zombie apocalypse" two years ago. Since the turn, as she calls it, she and her family - which has swelled from parents and siblings to include unrelated but beloved survivors better known as the cast of The Walking Dead - have struggled to survive, first in her family's farmhouse, and then in an abandoned prison. In that time, she's grown up fast: she's been the primary caretaker of an infant, lost both of her parents in violent conflicts, and nearly died herself on several occasions. Most recently, she's been an indentured servant at a hospital where brutality reigns. Beth's become harder since the beginning of the end, but she's also managed to hold onto a notion of faith and the need to do good, no matter the cost. She's brave, loving, and willing to kill - and she's coming in with enough mistrust that she just might feel she has to.
Character Personality:
Community oriented
Beth has historically been an affectionate, friendly girl, the kind of friend you invite to high-school house parties even though she doesn't drink. When someone becomes a part of her group, they'll have her trust implicitly. She raises a baby, Judith Grimes, from infancy up until they're separated, out of love for Judith's late mother as well as for Judith herself. She tells another character that she's "always wanted a child" and never expresses any discontent with being left with the baby near-constantly; however, there's no denying the fact that caring for a newborn at sixteen or seventeen is a huge task, one that benefits everyone else in their group. Even in toxic communities, she's capable of finding allies and caring for others; when she sees abuse committed against others, it affects her and influences her choices.
Empathic
Beth listens to others' troubles and tries to help them with them where she can. More importantly, she has a good sense for reading people, capable of cutting to the heart of what they're feeling, for good or ill. It's not an instant thing - she needs to be around them long enough to see how they tick - but when she's got someone, she's really got them. She can spot attempts at manipulation when they come from her sister; eventually, she can do the same after being burned by strangers. When a friend has a drunken, violent outburst, she can put the reason into words. In a kinder world, she'd probably just be socially well-adjusted; in the place she comes from, being able to see people clearly, for good or ill, is a life-saving skill.
Sense of justice
Beth retains some semblance of faith even after losing multiple family members and homes, though it isn't clear whether it's in the God she was raised to believe in or in other people. Either way, what comes with it is a sharp sense of right and wrong - and while that understanding of what is just has evolved away from the Ten Commandments, the weight of it remains. Life is valuable; individual people are valuable. People who do terrible things for the sake of cruelty, self-aggrandizement, or greed should be stopped - permanently, if nothing else will work. Doing what's right, rather than what's easy, is paramount. She articulates her beliefs most clearly in her final episode: "You keep telling yourself you have to do whatever it takes, just until this is all over, but it isn't over. This is it. This is who you are and what this place is until the end." She acts with the assumption that no one is coming to save humanity; if they're on their own, they have to take care of each other.
Stubborn:
On the one hand, it's good to be stubborn when you're surrounded 5000-to-1 by things that want to kill you. On the other hand, Beth's undeniably bull-headed and willing to argue when she disagrees with a person - and if she wants to do something, heaven help the person getting in her way. She gets into a screaming match with her older sister when Maggie tries to convince her not to kill herself. She gets into another loud argument with a friend when he won't help her find alcohol. She gets into a quieter but still intense argument with a person holding her captive, even knowing that it might put her safety at risk. When she gets an idea into her head, she holds onto it, whether that's I'm going to work hard to make my prison cell into something approaching a real bedroom or I'm going to do something stupid and dangerous, because it might make me feel better.
Pragmatic
Beth's learned over the last two years - and especially in the last few weeks - that sometimes the ends really do justify the means. Two years ago, she would have been horrified at the idea of killing people. These days, she might have complicated feelings on the subject, but that doesn't mean she won't do it. The world she lives in is a hard one, and surviving frequently requires hard choices. If someone's abusing others, if there's no hope for their redemption, then they might be better off dead. On the other hand, if someone's doing something fucked-up but ultimately harmless, she isn't necessarily going to stop them. When a friend takes a golf club to a zombie and keeps swinging long after it drops, she tells him to "beat up on walkers if that makes you feel better." If it means he's more likely to let her do the fucked-up but (hopefully) harmless thing she wants to do - and if it makes him feel better, because that would be nice, too - she'll deal with it.
Holding on
Mental illness isn't a personality trait, but - especially in a world without standardized medical care - the ways in which a person responds to a situation beyond their control are. For Beth, after the world's end, grief, depression, and trauma are always at her door. After her suicide attempt, she tries multiple other ways of handling loss: deciding she "doesn't cry anymore" and trying to focus on the time she had with a person; arguing, crying, burning her diary, and getting drunk; and pondering the void in the shape of an empty elevator shaft. For her, sitting at the edge of the darkness, her legs dangling in the empty space, has two potential meanings. That dark hole is literally a way out of the building she's trapped in, but - especially once it's used to kill another character - the drop is an escape from everything. She doesn't give into whatever thoughts might come to her. Beth's spent two years white-knuckling her way through the apocalypse, functioning in great part because there's no alternative: "All I wanted to do today was lay down and cry, but we don't get to do that."
Character History: Beth's the youngest of three children, the "ours" in a Yours, Mine, and Ours situation. Her life was a fairly normal one up to age sixteen; what drama there was centered on the petty vicissitudes of growing up.
And then the world ended.
For a while, Beth and her family thought that zombies were people experiencing some new sickness, and maybe they could eventually be cured. They kept theirs - neighbors, friends, and most notably, Beth's mother and older brother - in the barn on their farm, feeding them chickens and waiting for the chance to bring them 'back.' Finding out that was never going to happen involved a gunfight, where Beth saw half her family (the dead half, fortunately) shot. When she went to hold her mother's body, thinking it was safe, she was attacked by the corpse. Terrified by the possibility of being killed by the dead, Beth became suicidal and tried to convince her sister to agree to a suicide pact. It didn't work. When it was clear Maggie wouldn't die with her, she tried to commit suicide on her own but lived through the attempt - and eventually found a way to live with her grief and fear.
Life went on at the farmhouse, until it was overrun and they were forced to leave it. Then life went on the road, and eventually to an abandoned state prison, where she became the primary caregiver to an infant whose mother hadn't survived the birth. There were plenty of difficult circumstances - her father lost a leg, they were menaced by another group led by a man who assaulted her sister, there was a terrible illness - but there were peaceful moments, too. She had time to get a new boyfriend, then to lose him, and to see baby Judith grow from a newborn to a chubby-cheeked little thing capable of sitting up and playing with toys.
Around two years after the first emergence of zombies, though, that other group finally destroyed the prison, decapitated Beth's father in front of her, and sent their group scattering in all directions. Beth was separated from nearly everyone she knew and loved. She and another survivor, Daryl Dixon, went on alone, first at each other's throats, and then - with the help of a lot of moonshine and a little arson - as allies.
While they were staying in a funeral parlor, talking vaguely of making it their permanent home, zombies overran the place, and Beth was hauled into a car that sped her off to the Grady Memorial Hospital in Atlanta. There, she was told that she owed a debt to the hospital. They'd saved her and treated her injuries, and she needed to work off the cost of it. After making friends with a fellow patient, she attempted to escape with him, but was hauled back in. She was manipulated, beaten, sexually assaulted, and verbally abused while she was there; she struggled with more thoughts of suicide and killed living people for the first time.
Some of her community eventually found her and made a deal to get her back. On her way out, though, Beth knew that her absence wouldn't change anything for the people still trapped inside. She stabbed the hospital's leader with a pair of surgical shears. It wasn't a killing blow, and the leader of the hospital shot Beth in the head. She died immediately, never knowing whether her sister and Judith survived the destruction of the prison.
Physical Details:
• 5'3", very slight build
• She has two scars on her face, one above her right eye, and one below her left
• Slight Southern accent (her actress is from Nebraska, she's trying her best)
Does this character use any disability aids? What are they and what is their purpose? No.
Is the character bringing a pet? Describe them. No.
Inventory upon arrival:
Note: At the point of Beth's death, she doesn't own anything except the clothes on her back and a knife. I've suggested two other objects that could theoretically still exist within the world of her canon, but they aren't among her current possessions. If that doesn't work, I'm perfectly content for her to come into the game with only the knife from home.
1. A four-inch hunting knife with sheath
2. A small photo album of pictures of the Greene family pre-apocalypse
3. An acoustic guitar
Suitability
What elements of the game are you most interested in engaging with?
First and foremost, I'm interested in the historical context and the opportunity to put my knowledge of the mid-20th century to use. This is a time period I both love and am very familiar with, and my primary interest is in the cultural aspects of the era. Getting to drop in random references to the Percy Faith Orchestra or beef fizz, or maybe the Seventeenth Summer Prize for a particularly self-indulgent treat, is exciting.
Beyond that, I'm really interested in the possibility of homegrown horror. One of the unique aspects of the game is the way I'm guessing we're looking at some modern-era gothic/domestic horror opportunities along the lines of du Maurier and Levin. The way the notions of family and community are embedded into the terrible things that are happening feels both different from and more intriguing than the way horror games in dwrp are generally set up.
How will your character integrate into the setting? How do you see them dealing with life in Sweetwater? What are your plans for them in this game?
Because she's 18 and her role within canon is aligned with the adult characters rather than the child characters, I'd like her to be slotted in as a wife. She's coming directly from a setting where the way to survive was to play nice and then plot an escape on the down-low - and murder people, once escaping didn't work - so her initial inclination is to try to blend in while looking for potential allies. Her father was much older than average (the actor's other best-known role was Dick Hickock in In Cold Blood, he was OLD), so she has a vague sense of what is and isn't allowed in this setting from stories of his youth.
My plan for her is to try to get to the bottom of this, whatever that might look like, and to get home. She's ultimately unable to save herself in canon - she never leaves the hospital where she's trapped - but if she could here, I think that would be a great arc. And, let's be real, I'm interested in pulling the trauma string and seeing what happens; Beth's been through a lot, and potential new trauma intersects with her existing trauma in ways that are really intriguing to me.
Why did you choose this character specifically for this game?
Beth's final arc is about being set down into a place that ought to be safe but isn't. The hospital she's living in is full of petty, power-hungry people who get off on controlling the vulnerable patients in their care. It forces Beth to clarify a lot of her beliefs: When is it moral to kill someone living? What is power worth? When no one's watching what you're doing, does being good matter? What's your safety worth if other people are going to suffer in your absence? A ton of character development happens, but she dies before she gets to use it outside that context.
As a result, I want to set her down into another place that ought to be safe but isn't, and I want to see how she handles it.
What are your favorite elements of horror?
The horror elements that hold pride of place in my heart are really the eerie things, uncanny moments, the unexplained, anything designed to unsettle a person's understanding of society (or the universe as a whole) and their place within it. I enjoy ghost stories, cautionary tales regarding human behavior, and experiences that don't resolve easily. Some of these are more horror-inflected than straight horror, but stories in this vein that I really love include: The Innocents (1961), Shirley Jackson's We Have Always Lived in the Castle, M.R. James' "Oh, Whistle and I'll Come to You, My Lad," Picnic at Hanging Rock, Eraserhead, Penda's Fen, various iterations of Dracula and Frankenstein, Cat People, Carnival of Souls, Island of Lost Souls (and The Island of Doctor Moreau of course), Us, and Paul Samuel Jacobs' Born Into Light.
That said, I can take a fair amount of violence - stuff like Hostel or Peter Jackson's 80s horror movies are too gross for me, but Halloween, Hellraiser, and The Thing are all high up there on my list of all-time favourites.
Do you understand that Silent Spring's purpose is horror, not domesticity/found family, and that the following themes (nuclear panic, the Red Scare, conformism, sexism and restrictive gender roles, heteronormativity/gender binarism, surveillance, gaslighting, brainwashing/propaganda, disinformation, pollution/contamination, poisoning, loss of control, smoking, alcohol culture, and uncanny valley) cannot be opted out of?
Yes.
Do you agree to accept the potential IC consequences (social shunning/ostracism, potential exclusion from neighborhood social events, up to brainwashing, sleep deprivation torture, and nonconsensual haloperidol injection) in full for your character's actions in game?
Yes.
Housing Preferences
What is your usual tagging speed? Tagging patterns?
I try to get at least one tag in a thread each day, though I'm not as available on Mondays. If I'm falling behind, I try to reach out to people to talk about the best way to handle a thread - if we want to talk out the end, keep going with it a while, etc.
What activity level is ideal to you in a partner?
If we're playing close CR, I'd like us to be in touch a couple times a week at minimum - with the note that "in touch" might be as little as trading a couple of memes and linking each other to stuff that's happening - and to get at least a few tags every week. If there are delays of over a week between tags on a regular basis, it's generally not a good fit.
What is your timezone? How important is it that the other players in the household be in a similar timezone?
I'm GMT-6, and as long as everyone's tagging at some point every few days (or letting everyone know that it won't be happening), I don't care when it's happening.
Would you like a household with a child, without, or do you have no preference?
No preference.
Are you okay with being placed with a character/character(s) that would impact your character's reputation?
Yes.
