extemely beth and incredibly greene

Fri, 28 Jun 2024 22:38:32 GMT

BETH

Beth Greene NAME
Cis female SEX/GENDER
The Walking Dead CANON
post-05x08 "Coda" CANONPOINT

APPEARANCE

5'7" HEIGHT Light blonde, around elbow length, gets slightly wavy with sweat. Tends to wear it in ponytails, partially braided. HAIR

Feminine but practical

Enjoys little accents like embroidery or pretty buttons

Favors blue, green, and pastels in particular

Wears a neck scarf + bracelets to hide scars

Rubi clothing visuals here

STYLE

Slender build, narrow hips, flat chest, strong biceps (nsfw view) BUILD Blue EYES

Arcs above her right eyebrow and on her left cheekbone

A small, round bullet scar under her jaw

A large, irregular scar under her hair at the back of her head

A small arc on her left wrist

SCARS

HISTORY

THE WORLD ENDS

After an idyllic childhood on a farm in Georgia, Beth looks forward to the prom, graduation, and college. Instead, she gets zombies - walkers, in her group's parlance. Believing at first that there has to be a cure, she and her remaining family keep their zombified loved ones in the barn on their farm. This works out until an outsider finds out about the walkers and escalates things to a shootout, during which Beth watches as her mother and older brother are violently killed. Her mother's corpse attacks her first and nearly kills her - a moment when Beth's forced to see that the world has changed permanently. Things are never going back to normal.

SHE ATTEMPTS SUICIDE

That's a lot for a sixteen-year-old to absorb, let alone to accept. In her grief, she longs to die and tries unsuccessfully to convince her older sister to commit to a suicide pact. After a lot of screaming, Beth's eventually left alone for a few minutes - just long enough to hurry into the bathroom and break a mirror, using a shard in an attempt to kill herself. In that moment, she realizes she wants to live, hard as it feels. She struggles with depression for the rest of her life, but she also starts to figure out how to white-knuckle through dark times.

SHE DRINKS

That ability to keep going is severely tested later on, when she loses her father and current home in another violent conflict. Separated from everyone in her group besides Daryl Dixon, unsure if the baby she's taken care of for months is even alive, she says outright that all she wants to do is "lay down and cry." Instead, she abandons one of her core beliefs - don't drink alcohol, it would kill her father to know she did - and goes in search of liquor. She and Daryl end up drunk on moonshine to explosive effect - figuratively and literally, when they burn down a shack together - and Beth starts to build her own rules for living.

SHE KILLS

She's eventually kidnapped to a hospital in Atlanta and forced to work as an indentured servant by the people running the place. She's essentially an orderly, doing everything from laundry to basic medical care. It's the first time she's been completely separated from her group since the world ended, and she's been thrown into a den of wolves. She's manipulated into murdered an innocent man - the first living person she's killed - and murders another of her own volition after he sexually assaults her. Her ideals, slowly forged in relative solitude in the woods, are tested: Who is she when she has to live in the world again? The answer is someone who has to make hard choices and hope they're the right ones.

SHE DIES

Beth never leaves the hospital, but she gets close. When her group finds her again, she has the chance to put this experience in the rear-view mirror - but she knows that if she does, nothing will ever change. A few people are dead, but the same person is in charge, and that person will always allow cruelty if it shores up her own power. Beth spends time in silence, stewing over everything that's happened to her in recent times, and she makes a decision. Sneaking a pair of surgical shears with her, she goes to the official handoff point, where her group and the members of the hospital are gathered. Before she leaves, she stabs the leader of the hospital and is shot in the head. While her last moments of considering the surgical shears are silent, her hesitance suggests she realizes that death is a possible outcome. She does it anyway, though. For the last two years, she's lived with death at her back; she's come to a place where there are some things she values beyond her own life.

ABILITIES

ABILITY• Music - sings, plays piano, plays guitar

• Childcare - has spent much of the last year as the primary caretaker for a baby, Judith

• Survival skills - knows how to start a fire without matches, forage for plants, cook meat over coals/open flame, the very basics of tracking, etc.

• Social skills - good at talking to people, lying with a straight face, generally passing for normal

PERMISSIONS

Yes. TOUCHING Yes. KISSING Yes, with the note that Beth is a sexual assault survivor. If that's not material you're comfortable engaging with, please opt out. SEX Yes, but let's be in conversation about it. POWERS USE Yes, but let's be in conversation about it. INJURY Yes, but let's be in conversation about it. death

Yes, but let's be in conversation about it. FIGHT SCENES Yes. SHIPPING No, thank you. FOURTH-WALLING Yes. BACKTAGGING Yes in network, ask first in logs. THREADJACKING Please no excretory substances in sex, detailed descriptions of butt stuff, other things tbd. Ask before bringing up necrophilia or non-sapient bestiality (i.e., actual animals) in any non-criminal context. OOC HARD LIMITS

PREFERENCES

SMUT Kink list here

HORROR Doubting one's senses/perceptions
Body horror
Loss of control
Weird tales, eeriness
Slasher stuff

MONSTER

appearance

Beth's monster takes the form of a banshee, particularly inspired by Lady Jane Wilde's descriptions in the late 1880s - of a psychopomp who takes "the form of some sweet singing virgin of the family who died young, and has been given the mission by the invisible powers to become the harbinger of coming doom to her mortal kindred." She's the ultimate dead girl, untethered to life and capable of serious violence. Her transformation begins with lightening. Her hair grows paler. Her body slowly grows translucent, until it's possible to see through her to whatever's on the other side - or whatever's been inserted inside - of her. Her arms and legs seem to lengthen, her fingers growing spindly and sharp-nailed, and her build shifts from slender to gaunt. Her teeth sharpen and her cheeks grow hollow, until her face is dominated by her scars, her eyes, and her open mouth. She appears in tattered white shrouds, barefoot, a silver comb biting back a few locks of her increasingly unkempt hair. Fully transformed, she's barely corporeal, capable of touching and being touched but difficult to see in any kind of light; in darkness, she seems to glow. She can speak in a hoarse whisper or scream, a high keening sound capable of deafening others or knocking them unconscious. Her hearing becomes unnaturally sharp, and she's capable of hovering a few inches off the ground or gliding quickly through the air. Plagued by an ever-increasing hunger for flesh, she can be sated by either coupling with or devouring her quarry.

POWER_LIST

PIERCING SCREAM | Can temporarily deafen others
NEAR INVISIBILITY | Difficult to see in daylight
WEIGHTLESSNESS | Hovers and glides through the air

behavior

Ravenous for human flesh, either in the form of sex or violence.

comments

Fri, 28 Jun 2024 22:37:34 GMT

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Beth Greene, 18

"Yeah?"

CODE BY

comments

Fri, 22 Dec 2023 02:16:34 GMT

OOC
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): 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.

comments

Tue, 14 Mar 2023 15:34:35 GMT

open post. prompts welcome.

comments

Tue, 27 Sep 2022 13:12:52 GMT

The elevator pitch:

What if a teenage girl had to survive the apocalypse? I tend to play Beth from when she's ~18 (I'm all about that season 5 aftermath), but I'm happy to AU her past her age at death out into later canon or AUs. So the range of options is closer to 18-28, depending on how far out into the series we want to go. If there's a specific time period you're more interested in, give me a heads-up.

How I write her:

I feel like approaches to Beth can really vary, so here's the Cliff's Notes version of my interpretation of the character:

❝All I wanted to do today was lay down and cry, but we don't get to do that.❞
Beth's no longer actively suicidal, but she's also experienced a shitload of trauma and has had approximately 0 therapy for it. She still has varying levels of depression that haven't - and probably won't ever - go away. At this point, her approach to handling it involves a fair amount of white-knuckling and personal boundaries (careful with the alcohol! no hurting yourself! you're allowed to stare into the void, but not to jump!) to keep herself from doing something she'll regret.

❝No one's coming, Dawn. No one's coming.❞
Just a little nihilistic! And not just when she's trapped someplace unsafe, surrounded by people manipulating her. The thing is, no one is coming, except the people she knows and trusts. There's no higher authority that's going to save them, whether that's God* or the tattered remains of the government - but that's freeing, in a way. It puts the onus on her and what she can do for others, which gives her purpose, which helps the fact that she's a little depressed.

*Does she still believe in God? It's Complicated. Please feel free to put her on the spot.

❝Yeah, I'm happy. I'm just not blind.❞
None of this is to say that she's off the deep end 24/7 or anything. She can still take joy from the world - and honestly, finding out that Judith survived the razing of the prison probably counts for a LOT. If her time at Grady Memorial Hospital fucked her up (and it did), being able to exist outside of it could slowly help her heal.

In general, my favourite thing about Beth is that before the turn, she would have been horrified by the way her life's gone - but at and after season 5? It's kind of okay. She loves babies, ladybugs, berries picked from the bush, her family, and every song Tom Waits ever sang. She's just also willing to risk her own life to kill a woman in cold blood, because she knows other people will get hurt if she doesn't.

Crossovers and AUs:

First of all, I love crossovers and AUing characters! With Beth, everything's kind of an AU anyway, since I'm most interested in her post-hospital.

Some Beth-specific AUs I really enjoy:

♫ The bullet misses, or it grazes her, or it gets her in the shoulder or someplace else survivable.
♫ She dies, but for weird eldritch reasons, she comes back (and possibly comes back a little wrong).
♫ She dies, and now she's a ghost and we're doing some Ghost and Mrs. Muir "is your character crazy or is she really there" shit.
♫ She dies, and now she's a ghost in the parallel universe of your character's canon.
♫ She's supposed to die, but for whatever reason, it doesn't take + she ends up slipping through the cracks of the multiverse into your character's canon.
♫ If both our characters are from similar settings, smashing the two together - TWD and Fallout, for instance - into a big mush.
♫ A full AU where she's always been part of your character's canon - though it really depends on whether shit like "and then she was an indentured servant in a shady medical setting" translates over easily.

I'm happy to use various Beth's-still-around premises for plot generation purposes or just as background noise to justify her presence in a thread! My main goal is really to find a way to write about her from after season 5 despite the inconvenient matter of her death.

I'm generally not interested in mundane modern settings or completely setting-divergent AUs - if your character's from a modern-day setting with minimal speculative elements, I'd rather AU your character in TWD than vice versa.

Ships:

I'm interested in both m/f and f/f with Beth - crosscanon f/f has been some of my best CR, tbh.

yes: daryl*, noah
probably yes: crosscanon
no: carl, rick, noncon situations

*NB: I feel like sometimes Beth fans are super fuckin weird about Bethyl, so this is just a note that if you're not interested, I'm not going to be weird about it. Gen shit is A++ as well.

comments

inbox.

Sun, 04 Apr 2021 00:40:28 GMT

"This is Beth."

comments

permissions/opt-out

Sun, 04 Apr 2021 00:38:27 GMT

☄ First Impressions

♚ VISUAL: Beth has two facial scars, on her left cheek and the right side of her forehead. In Fade Rift, she has bullet scars under her chin and at the back of her head, as well as a shard embedded in her right wrist. She's 5'4" and has long blonde hair that tends to frizz into curls, blue eyes, and a very small frame.
♚ FASHION: Beth tends to dress in layers of practical, feminine clothing. She wears cowgirl boots and favors necklaces and bracelets. She consistently wears her bracelets on her left arm, presumably to cover a scar on the inside of her left wrist.
♚ DEMEANOUR: When Beth's comfortable with her situation, she tends to be open, friendly, and quick with an easy smile. When she isn't, she tends to take a more guarded approach to people around her: blank looks, moving ghostlike through locations, trying to go unnoticed where she can.
♚ AURAL: Beth speaks English with a Southern accent (Georgian, in particular). Her voice is fairly high. She sings quite well.
♚ OLFACTORY: The problem with the zombie apocalypse is that there aren't a lot of showering opportunities. When things aren't great, she smells like sweat, dirt, blood, and rot. In a situation where she can bathe regularly, she tends just to smell like the soap she uses. It's been a long time since she's been able to wear perfume, and that's more of a special-occasion thing anyway.

☄ Background Deets

♚ BEFORE THE TURN: AKA, "before ~~zombies~~ walkers destroyed civilization." Beth was a fairly normal sixteen-year-old girl. She grew up on a farm in Georgia with her mother, father, and two half-siblings (one from each of her parents' previous marriages). She was a nice Christian girl who loved music (let her tell you about how great Tom Waits is let her tell you) and hated the idea of disappointing her father. The fact that she was invited to parties on the regular suggests that she was reasonably popular, and she was no stranger to boyfriends and the usual high-school drama.
♚ HER PEOPLE: For quite a while, Beth continues to live on her family's farm with her family, neighbors, and boyfriend. Eventually, a traveling group (Rick Grimes et al., AKA the main characters) sets up camp on their farmland, and the Greenes slowly become involved in their affairs. By the time the Greenes' farmhouse is overrun by walkers, they're one band of humans against the world, and that remains the case through the end of Beth's life.
♚ HER LIFE: After the world ends, it basically goes LIVING AT HOME > WANDERING AROUND IN THE WOODS > LIVING IN AN ABANDONED PRISON > WANDERING AROUND IN THE WOODS BUT THIS TIME WITH ONLY A SENSITIVE REDNECK FOR COMPANY > LIVING IN A FUNERAL HOME FOR LIKE A DAY > GETTING KIDNAPPED INTO A HOSPITAL. Aside from the first time in the woods and the hospital, she has good memories of all those places (along with some really shitty ones). Her story is all about looking for a way to live in a world that's drowning in death.
♚ HER DEATH: The hospital was an all-around suckfest, one which made camping with Daryl Dixon look like a dream vacation by comparison. The people in charge ranged from neglectful to abusive to out and out rapists, and Beth ended up killing almost all of them. At the end of her character arc, she has to make a choice: escape with her group and leave the other patients in a situation that will never improve, or try to kill the last person standing in the way of change before she leaves. Beth won't leave vulnerable people where they can be hurt by others--so she chooses to stab the woman in charge and pays for it with her life.

☄ OOC

♚ BACKTAGGING: Backtagging is fine, but in general, I prefer to work steadily on threads if possible. I'll always get in touch with you to discuss details if I need to handwave something that hasn't happened yet for another thread.
♚ THREADJACKING: Always welcome.
♚ PHYSICAL AFFECTION: At heart, Beth's an affectionate person, and she's fine with hugs and cheek-kisses and handholding (and stuff and things) from people she likes and trusts. However, due to the canon point she's from, someone she doesn't know well getting a little too friendly is likely to put her on her guard and generally not be a good time. If you're not sure where your character would fall, feel free to ask.
♚ PHYSICAL VIOLENCE: Beth has killed both zombies and garden-variety humans. Violence is something she's learned to live with, and I'm fine with playing out/around fights, torture, killing NPCs, &cet. That said, let's be in contact over it so we know what to expect, and I'd rather write around the details of extremely violent or gory situations. For somebody who watches a zombie soap opera, I'm pretty sensitive to violence and will let you know if things get to be too much for me.
♚ RELATIONSHIPS: Beth is incredibly shippable--she has multiple boyfriends in canon and is clearly interested in dating. Het relationships will take less buildup than femslash ones, but I'm willing to make either happen if you're interested! Drop me a line, and we'll discuss.
♚ DIFFICULT SUBJECTS: Beth comes from a dark, violent canon, and the following subjects have a good chance of showing up:
♔ Death, familial death, her own death
♔ Depression, attempted suicide
♔ Murder, general violence, physical assault
♔ Sexual assault

If you have questions or concerns regarding these issues as they pertain to Beth, please feel free to comment on this post (comments are screened). NB: Depending on the situation, it can be difficult to avoid these subjects entirely in narrative, as they have significant effect on her worldview and potentially her CR. However, I am happy to do my best to accommodate your needs, whether you'd like to opt out of certain subjects or playing with Beth in general.

Modified from this code.

comments

Sun, 04 Apr 2021 00:32:25 GMT

APPLICATION / INBOX / HMD / OPT-OUT

Basics

NAME: Beth Greene
AGE: 18
NATIONALITY: Rifter / American
RACE: Human
OCCUPATION: Survivor
TITLE/RANK: N/A

HEIGHT: 5'5"
BUILD: Slender
HAIR: Blonde
EYES: Blue
SKIN: Pretty clear
BEARING:***

DISTINGUISHING FEATURES: Beth has an arcing scar over her right eye and another under her left eye. There's a bullet scar under her jaw, which she hides with a scarf, and a scar from a knife on the inside of her left wrist, hidden by bracelets. (There's another scar on her scalp where the bullet went through, but it's under her hair.) Her right wrist has a shard in it.

When she speaks, it's with an American accent that occasionally goes a little southern.

Status

DIVISION:
PROJECTS:

Reputation

• clearly new to thedas, look at the thing in her arm
• sings to herself while she's doing other tasks

Hooks

•

comments

tracker.

Sat, 22 Sep 2018 02:15:37 GMT

dsafdsf

comments

permissions / opt-out - zhautas

Mon, 10 Sep 2018 18:30:20 GMT

☄ First Impressions

♚ VISUAL: Beth has two facial scars, on her left cheek and the right side of her forehead. She's 5'4" and has long, blonde hair that tends to frizz into curls, blue eyes, and a very small frame. If you want the extremely NSFW view of her body type, this is a gif of Emily Kinney in Masters of Sex.
♚ FASHION: Beth tends to dress in layers of practical, feminine clothing. She wears cowgirl boots and favors necklaces and bracelets. She consistently wears her bracelets on her left arm, presumably to cover a scar on the inside of her left wrist.
♚ DEMEANOUR: When Beth's comfortable with her situation, she tends to be open, friendly, and quick with an easy smile. When she isn't, she tends to take a more guarded approach to people around her: blank looks, moving ghostlike through locations, trying to go unnoticed where she can.
♚ AURAL: Beth speaks English with a Southern accent (Georgian, in particular). Her voice is fairly high. She sings quite well.
♚ OLFACTORY: She tends just to smell like the soap she uses. It's been a long time since she's been able to wear perfume, and that's more of a special-occasion thing anyway.
♚ MENTAL INFORMATION: Beth is a normal human without mental shields to speak of (re: telepathy).
♚ MAGICAL INFORMATION: Beth is not magical in any way, shape, or form.

☄ Background Deets

♚ BEFORE THE TURN: AKA, "before ~~zombies~~ walkers destroyed civilization." Beth was a fairly normal sixteen-year-old girl. She grew up on a farm in Georgia with her mother, father, and two half-siblings (one from each of her parents' previous marriages). She was a nice Christian girl who loved music (let her tell you about how great Tom Waits is let her tell you) and hated the idea of disappointing her father. The fact that she was invited to parties on the regular suggests that she was reasonably popular, and she was no stranger to boyfriends and the usual high-school drama.
♚ HER PEOPLE: For quite a while, Beth continues to live on her family's farm with her family, neighbors, and boyfriend. Eventually, a traveling group (Rick Grimes et al., AKA the main characters) sets up camp on their farmland, and the Greenes slowly become involved in their affairs. By the time the Greenes' farmhouse is overrun by walkers, they're one band of humans against the world, and that remains the case through the end of Beth's life.
♚ HER LIFE: After the world ends, it basically goes LIVING AT HOME > WANDERING AROUND IN THE WOODS > LIVING IN AN ABANDONED PRISON > WANDERING AROUND IN THE WOODS BUT THIS TIME WITH ONLY A SENSITIVE REDNECK FOR COMPANY > LIVING IN A FUNERAL HOME FOR LIKE A DAY > GETTING KIDNAPPED INTO A HOSPITAL. Aside from the first time in the woods and the hospital, she has good memories of all those places (along with some really shitty ones). Her story is all about looking for a way to live in a world that's drowning in death.
♚ HER DEATH: The hospital was an all-around suckfest, one which made camping with Daryl Dixon look like a dream vacation by comparison. The people in charge ranged from neglectful to abusive to out and out rapists, and Beth ended up killing almost all of them. At the end of her character arc, she has to make a choice: escape with her group and leave the other patients in a situation that will never improve, or try to kill the last person standing in the way of change before she leaves. Beth won't leave vulnerable people where they can be hurt by others--so she chooses to stab the woman in charge and pays for it with her life.

☄ OOC

♚ BACKTAGGING: Backtagging is fine, but in general, I prefer to work steadily on threads if possible. I'll always get in touch with you to discuss details if I need to handwave something that hasn't happened yet for another thread.
♚ THREADJACKING: Always welcome.
♚ FOURTHWALLING: I'd prefer to avoid fourthwalling at this time
♚ PHYSICAL AFFECTION: At heart, Beth's an affectionate person, and she's fine with hugs and cheek-kisses and handholding (and stuff and things) from people she likes and trusts. However, due to the canon point she's from, someone she doesn't know well getting a little too friendly is likely to put her on her guard and generally not be a good time. If you're not sure where your character would fall, feel free to ask.
♚ PHYSICAL VIOLENCE: Beth has killed both zombies and garden-variety humans. Violence is something she's learned to live with, and I'm fine with playing out/around fights, torture, killing NPCs, &cet. That said, let's be in contact over it so we know what to expect, and I'd rather write around the details of extremely violent or gory situations.
♚ DIFFICULT SUBJECTS: Beth comes from a dark, violent canon, and the following subjects have a good chance of showing up:
♔ Familial death, her own imminent death, death in general, corpses, zombies
♔ Depression, attempted suicide
♔ Murder, general violence, physical assault
♔ Sexual assault, implied sexual slavery, attempted rape

As the last one is obviously going to be extremely relevant to playing in a sex game, some extra details: Beth was kidnapped into a hospital in part due to the fact that Gorman, one of the security guards there used female patients essentially as sex slaves; because they're already indentured to the hospital as a whole, they're a captive audience to his sexual appetites. Gorman is one of the people directly involved in bundling her into a car and taking her to the hospital after his last patient runs away. He assaults Beth and attempts to rape her, but she manages to kill him.

While timelines are hazy on The Walking Dead, this is an experience that occurred within the past few weeks for Beth and could potentially colour her sexual experiences in-game. For that reason, if you are not comfortable interacting with this subject matter, please let me know so that I can avoid it in threads with you. If you would prefer to opt out of playing with Beth completely, give me a heads-up so that I know not to tag your characters. It's important to me that Beth's history isn't a barrier to anyone enjoying their in-game experience!

If you have any other questions or concerns regarding these issues as they pertain to Beth, please feel free to comment (we can screen the conversation if you prefer!), PM me, or PP me at prettydoes. I am happy to do my best to accommodate your needs, whether you'd like to opt out of certain subjects or playing with Beth in general.

Modified from this code.

comments

Sat, 01 Sep 2018 03:14:21 GMT

PLAYER PROFILE
Player name: Dove
Age: 21+
Contact: PM this journal
Characters currently in-game: N/A

Triggers/Fears/Squicks: My only great terrors are alien abduction and grey aliens (if you aren't familiar with the term, please wiki it--I would provide a link, but there's a picture of one on the page, and that makes it unpleasant to go to).

Character Motivation: In canon, Beth stabs a woman called Dawn Lerner and is killed as a result. She's pulled from immediately before the gun goes off, which means she has little reason or desire to go back home.

Besides, her world's already sick with something. Maybe the infection these people are trying to cure is related. Maybe it'll mean the end of walkers. For that, she's more than willing to help.

VOLUNTEER PROFILE
Name: Beth Greene
Age: 18
Physical Appearance: Beth's looks
Point in Timeline: In the instant before Dawn fires her gun and shoots Beth in the head, episode 05x08, "Coda"
World Description: Regular Earth, except that in 2010, an infection started spreading like wildfire through the planet. Now, as far as anyone in Georgia knows, everyone still left alive has it and will become a walker (read: zombie) after death. In the two years since the turn, the vast majority of the population has been decimated and society crumbled along with them, leaving only small groups of humans fighting walkers and each other for survival.
History/Background: Wiki link

Noteworthy Positive Characteristics:

Caring
◦ Beth has always been an affectionate, friendly girl, the kind of friend you invite to high-school parties even though she doesn't drink. She listens to others' troubles and tries to help them with them where she can.
◦ She raises a baby, Judith Grimes, from infancy up until they're separated, out of love for Judith's late mother and for Judith and for babies in general. She tells another character that she's "always wanted a child" and never expresses any discontent with being left with the baby near-constantly.
◦ Her family means a great deal to her, as do friends, and she's not shy about expressing as much, whether it's by hugs, cheek kisses, holding hands, or a bright smile.
◦ She has two boyfriends over the course of her character arc, both of whom she outlives; while she doesn't get to be with either for more than a few months, she's clearly fond of them. Upon hearing about the second one's death, she states she was glad she got to know him, and she tries to remember his life rather than his death.

Principled
◦ Raised a devout Christian, Beth has her faith even after what she's seen. In a deleted scene, she reassures a character that he can believe in Heaven, with the implication that she still believes herself. After the death of her father and the loss of their home, she's willing to tell Daryl that it wouldn't kill him to have a little faith.
◦ She has a strong sense of justice and a sharp sense of right and wrong. While her brand of doing the right thing might not ring true to everyone's moral code--she's relatively okay with murder--she finds comfort in trying to do what's right.
◦ Her approach to life is best articulated in her last episode, "Coda," when she says, "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." Doing the right thing matters, even in the ruins of society; it might, in fact, be the only thing left that counts.

Empathic
◦ Beth has a good sense for other people: she's capable of getting a read on others and 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.
◦ When she's suicidal in the episode "18 Miles Out," her sister tries to use her boyfriend as a reason not to kill herself. Beth's response is a roll of the eyes and an acidic We went out for three months and now I'm married to him?" She sees Maggie's appeal for the attempt at manipulation it is, and she rejects it.
◦ Throughout the episode "Still," she demonstrates that she generally understands Daryl Dixon, perhaps better than he understands himself, with a few notable exceptions. (Don't suggest to him he went to prison.)
◦ The Grady arc ("Slabtown" through "Coda") is an ideal way to see how her understanding of people evolves, from being manipulated by the people around her to resisting their manipulation and trying to return it in kind.

Survival Instinct
◦ For all that Beth doesn't seem like an obvious survivor, she makes it two years past the end of the world. She's proof that strength comes in many forms--and that showing up to make the effort counts for a lot.
◦ She's willing to adapt to intense changes and to try to learn what she needs to survive, up to and including wilderness skills like tracking and crossbow hunting.
◦ She takes on the care of a child, trusting the she can do it and managing well enough that she's mistaken for Judith's biological mother.
◦ When things are going south, she's willing to do what it takes to stop them, and she'll get creative if she has to. Merle Dixon getting out of hand? She shoots a gun at the prison ceiling to get everyone's attention, glares, and that's that.
◦ Her survival is wrapped up in others, ultimately: in relying on them, trusting them, learning from them, and caring for them in turn. Beth's ability to thrive in the apocalypse, however briefly, suggests that her instinct to connect with others is an important, undersung part of what constitutes living.

Noteworthy Negative Characteristics:

Traumatized (not so much a personality trait as something that informs the rest of her character)
◦ A woman was once devoured by zombies while Beth was holding her hand. She lost her mother and brother to the infection and then to gunfire, her father to decapitation, and two different homes to invasion. She has no reason to believe Judith, the baby she raised for months, is alive and never finds out that she survived the invasion of their prison home. After the prison's fall, she never sees her older sister again.
◦ In Grady Memorial Hospital, the last place she lived in canon, she's essentially a captive, indentured to the hospital to pay off the medical debt she "owes" them. She's forced to hold a girl down through an unanesthetized amputation, manipulated into murdering multiple people, sexually assaulted by a guard, and hit hard enough to require stitches.
◦ She's lived two years having to be anywhere from alert to Hyper Fucking Alert to the presence of shambling corpses.
◦ She's spent the better part of two years not getting enough to eat, drink, or sleep.

Impulsive
◦ She's had to grow up fast, but Beth's still 18 years old--she's still a teenager who can jump to conclusions and make questionable decisions.
◦ How do you handle grief after your dad dies? Get drunk. How do you deal with the weight of the past when a friend confesses drunkenly to you about the emptiness of his life before the world ended? Burn a house down with moonshine and hundred-dollar bills.
◦ Should you try to murder someone who employed a guy who tried to rape you? Of course you should.
◦ Someone yells at you to push a man down an elevator shaft--do you do it? Of course you do.

Stubborn/Argumentative
◦ 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, she'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.
◦ When she's sixteen and in a suicidal crisis, she ends up in a shouting match with her older sister over the merits of dying right then and there; she's prepared to argue her way into a suicide pact rather than risk being killed by walkers.
◦ The day she decides to go get drunk in the woods, she has to prod Daryl Dixon into helping her find booze, which involves yelling and flipping him off, then ends up in a drunken shouting match that she partially instigates and definitely keeps going.

Depressed
◦ When she's sixteen, Beth sees her mother and older brother's corpses shot in front of her, then goes into a catatonic depression that ends with her attempting to slit her wrists, despite the pleading and threats of everyone around her. The world isn't what she was brought up to think it was--fair, happy, kind to her and her loved ones--and while she's functional after that point, it's implied that it's a delicate balance.
◦ After the death of her father, she tells another character all I wanted to do today was lay down and cry, but we don't get to do that. Without access to therapy, she's bootstrapping her way through the grief that nearly killed her the last time she lost family members to violence.
◦ After she begins to kill people at Grady Memorial Hospital, she spends a significant amount of time sitting at the edge of an open elevator shaft, staring into the darkness and thinking. While this behavior is only shown, never commented on, I interpret it as a reminder of the issues she has with sadness, made more difficult by the fact that she's now grappling with the fact that she's a murderer.

Pragmatic
◦ Beth's learned over the course of years that sometimes, the ends really do justify the means.
◦ She's surprisingly blase about watching a friend beat a walker into a bloody pulp, telling him that if that's what he needs to do to deal with loss, then so be it.
◦ By the point of her death, she's come to decide that murder is (basically) acceptable if it stops bad people from doing something worse--in the course of about fifteen minutes, she goes from her first real murder to trying to trick Dawn Lerner (an admittedly awful person) into going to her death.
◦ The whole reason she dies in canon is because she decides it's more important that Dawn's no longer in power than it is to leave the hospital herself. This isn't stated outright, but there is a scene in which she studies the surgical shears she uses to stab Dawn, taking a moment before she decides to tuck them into her cast and bring them with her.

Character Fears: Beth's not afraid of much anymore, but she has trauma related to zombies/dead things in general and sexual assault; the possibility of the former showing up or the latter happening again are probably her main fears at this point. Everything else is abstract, things like I'm afraid I'll be so bad off I'll try to kill myself again.

Powers/Abilities: No powers or abilities, but she is technically infected with a virus that would turn her into a zombie if she was ever killed. Presumably that can either be healed or can be contained within her / end up being a brief Thing if she ever does die, her shambling around and having to be taken to Professor Quintalian. I'm fine with either outcome and defer to your best wisdom on the matter.

Personal Item: Beth will have her knife, a Browning with a 4.25" blade, in its sheath.

VOLUNTEER SAMPLES
Network Sample: here
Action Log Sample: here

comments

permissions / opt-out - reverie

Thu, 16 Aug 2018 23:44:08 GMT

☄ First Impressions

♚ VISUAL: Beth has two facial scars, on her left cheek and the right side of her forehead. She's 5'5" and has long, blonde hair that tends to frizz into little curls; blue eyes; and a very small frame.
♚ FASHION: Beth tends to dress in layers of practical, feminine clothing. She wears cowgirl boots and favors necklaces and bracelets. She consistently wears her bracelets on her left arm, presumably to cover a scar on the inside of her left wrist.
♚ DEMEANOUR: When Beth's comfortable with her situation, she tends to be open, friendly, and quick with an easy smile. When she isn't, she tends to take a more guarded approach to people around her: blank looks, moving ghostlike through locations, trying to go unnoticed where she can.
♚ AURAL: Beth speaks English with a Southern accent (Georgian, in particular). Her voice is fairly high. She sings quite well.
♚ OLFACTORY: The problem with the zombie apocalypse is that there aren't a lot of showering opportunities. When things aren't great, she smells like sweat, dirt, blood, and rot. In a situation where she can bathe regularly, she tends just to smell like the soap she uses. It's been a long time since she's been able to wear perfume, and that's more of a special-occasion thing anyway.
♚ MENTAL INFORMATION: Beth is a normal human without mental shields to speak of (re: telepathy).
♚ MAGICAL INFORMATION: Beth is not magical in any way, shape, or form.

☄ Background Deets

♚ BEFORE THE TURN: AKA, "before ~~zombies~~ walkers destroyed civilization." Beth was a fairly normal sixteen-year-old girl. She grew up on a farm in Georgia with her mother, father, and two half-siblings (one from each of her parents' previous marriages). She was a nice Christian girl who loved music (let her tell you about how great Tom Waits is let her tell you) and hated the idea of disappointing her father. The fact that she was invited to parties on the regular suggests that she was reasonably popular, and she was no stranger to boyfriends and the usual high-school drama.
♚ HER PEOPLE: For quite a while, Beth continues to live on her family's farm with her family, neighbors, and boyfriend. Eventually, a traveling group (Rick Grimes et al., AKA the main characters) sets up camp on their farmland, and the Greenes slowly become involved in their affairs. By the time the Greenes' farmhouse is overrun by walkers, they're one band of humans against the world, and that remains the case through the end of Beth's life.
♚ HER LIFE: After the world ends, it basically goes LIVING AT HOME > WANDERING AROUND IN THE WOODS > LIVING IN AN ABANDONED PRISON > WANDERING AROUND IN THE WOODS BUT THIS TIME WITH ONLY A SENSITIVE REDNECK FOR COMPANY > LIVING IN A FUNERAL HOME FOR LIKE A DAY > GETTING KIDNAPPED INTO A HOSPITAL. Aside from the first time in the woods and the hospital, she has good memories of all those places (along with some really shitty ones). Her story is all about looking for a way to live in a world that's drowning in death.
♚ HER DEATH: The hospital was an all-around suckfest, one which made camping with Daryl Dixon look like a dream vacation by comparison. The people in charge ranged from neglectful to abusive to out and out rapists, and Beth ended up killing almost all of them. At the end of her character arc, she has to make a choice: escape with her group and leave the other patients in a situation that will never improve, or try to kill the last person standing in the way of change before she leaves. Beth won't leave vulnerable people where they can be hurt by others--so she chooses to stab the woman in charge and pays for it with her life.

☄ OOC

♚ BACKTAGGING: Backtagging is fine, but in general, I prefer to work steadily on threads if possible. I'll always get in touch with you to discuss details if I need to handwave something that hasn't happened yet for another thread.
♚ THREADJACKING: Always welcome.
♚ FOURTHWALLING: I'd prefer to avoid fourthwalling at this time
♚ PHYSICAL AFFECTION: At heart, Beth's an affectionate person, and she's fine with hugs and cheek-kisses and handholding (and stuff and things) from people she likes and trusts. However, due to the canon point she's from, someone she doesn't know well getting a little too friendly is likely to put her on her guard and generally not be a good time. If you're not sure where your character would fall, feel free to ask.
♚ PHYSICAL VIOLENCE: Beth has killed both zombies and garden-variety humans. Violence is something she's learned to live with, and I'm fine with playing out/around fights, torture, killing NPCs, &cet. That said, let's be in contact over it so we know what to expect, and I'd rather write around the details of extremely violent or gory situations. For somebody who watches a zombie soap opera, I can be pretty sensitive to violence and will let you know if things get to be too much for me.
♚ RELATIONSHIPS: Beth is incredibly shippable--she has multiple boyfriends in canon and is clearly interested in dating. Het relationships will take less buildup than femslash ones, but I'm willing to make either happen if you're interested! Drop me a line, and we'll discuss.
♚ DIFFICULT SUBJECTS: Beth comes from a dark, violent canon, and the following subjects have a good chance of showing up:
♔ Death, familial death, her own death
♔ Depression, attempted suicide
♔ Murder, general violence, physical assault
♔ Sexual assault

If you have questions or concerns regarding these issues as they pertain to Beth, please feel free to comment, PM me, or PP me at prettydoes. I'm happy to work with you to accommodate your needs, whether you'd like to opt out of certain subjects or playing with Beth in general.

Modified from this code.

comments

inbox.

Thu, 16 Aug 2018 18:22:58 GMT

reverienet

comments

app.

Sat, 04 Aug 2018 21:41:37 GMT

( Read more... )

comments

meme tracker

Sun, 20 May 2018 17:33:08 GMT

memes & psls.

falling asleep
Nyx

beach birthday
Jughead

morning-after meme
Wolke

cave
Odd

exorcism
Ashraf

ain't no grave
Henry
college au
Henry

breaking out
Derek
body heat meme
Derek
heartbeat
Derek

arranged marriage meme
hancock

age gap meme
Daryl

fake jamjar
Daryl

age gap meme
Elijah
musebox: vans
Elijah
musebox: modern au
Elijah

comments

Tue, 05 Dec 2017 03:44:20 GMT

( cut text right here! )

comments

inbox.

Sun, 12 Nov 2017 04:21:18 GMT

This is Beth, leave a message.

comments

tracker.

Sat, 11 Nov 2017 21:00:31 GMT

NOVEMBER, 2017

☆ 11.04.17: network: going home
d33
☆ 11.05.17: post: scar manipulation offers
red, warlock, jesse, padme, abigail, bela, justine, jonathan
☆ 11.05.17: network: shadow powers
mr. gray
☆ 11.05.17: network: import faq
kaneki
☆ 11.05.17: network: death
yusuke
☆ 11.05.17: network: pokemon
blue
☆ 11.06.17: network: places to visit
ellie
☆ 11.06.17: network: messages home
mike
☆ 11.11.17: network: jobs
mary
☆ 11.11.17: top-level: memory share
hajime
☆ 11.14.17: thread: hallucination
jesse
☆ 11.17.17: network: thanksgiving
diane
☆ 11.18.17: network: memories of rick
kaneki
☆ 11.18.17: thread: secret weddings/space
padme
☆ 11.19.17: inbox: knives
mickey
☆ 11.24.17: inbox: pizza and ice cream
jesse
☆ 11.26.17: inbox: granola bars
poe
☆ 11.26.17: network: christmas
han
☆ 11.26.17: inbox: no longer watching poe's show
finn

DECEMBER, 2017
☆ 12.01.17: inbox: but you're boyfriends, right?
finn
☆ 12.02.17: top-level: bloodied brains
finn, bodhi, kaneki, justine, poe, nate
☆ 12.03.17: thread: rift-closing
maxwell
☆ 12.03.17: inbox: poe's show
poe
☆ 12.13.17: inbox: fixing beth's brain
jesse
☆ 12.17.17: inbox: checking in with finn
finn
☆ network: mac'n'cheese quesadillas
sarissa, boyle
☆ inbox: invitation to alex/magnus' party
jesse
☆ network: ambassadorship
padme
☆ inbox: love trouble
poe
☆ top-level: resistance party
k-2so, han, riptide, bela, lando, kanan, poe, kaneki, padme
☆ thread: pot
persephone
☆ inbox: mixtape
poe
☆ post: ged, bluetube
jesse, archie, sarah, d33, abigail, laurel

JANUARY, 2018
☆ thread: fighting lessons
carl gallagher
☆ thread: antiques shopping
bela
☆ thread: jesse's lodge
jesse
☆ thread: poe comes back
poe
☆ network: instagrahm
midnighter
☆ network: fighting
carl
☆ network: calling home
will byers
☆ network: favourite part of the universe
betsy
☆ network: clothes shopping
kei
☆ network: daryl
kaneki
☆ network: best flowers
otabek, kei
☆ network: dogs are the best
blue
☆ network: polly
red
☆ network: dating dress codes
sarissa
☆ network: d&d
cisco
☆ network: romance vs. roommates
eli
☆ network: pointlessness
veronica

FEBRUARY, 2018
☆ network: daryl's pets
kaneki, d33
☆ network: burgers
jughead
☆ network: amateur music
lester
☆ network: moonshine
sinjir
☆ network: church
joshua
☆ network: kaneki marries
kaneki
☆ thread: jesse's return
jesse

MARCH, 2018
☆ thread: getting splattered by food
midnighter
☆ thread: sad drunk pals
poe
☆ network: french fries vs. onion rings
percy
☆ thread: corned beef hash
wonder woman
☆ network: st. patrick's day
ronan
☆ network: poe dies
poe
☆ thread: prey in the most dangerous game
character
☆ network: passover
alfie

☆ network: subject
character

MOM MEMES
☆ 11.07.17: handwaved CR
tate
☆ 11.10.17: tfln
d33

comments

mom permissions

Sat, 04 Nov 2017 22:10:48 GMT

☄ First Impressions

♚ VISUAL: Beth has two facial scars, on her left cheek and the right side of her forehead. In MoM, she has a bullet-shaped scar under her jaw and a larger, more amorphously shaped scar underneath her hair at the top of her head; those two are more difficult to see. She's 5'4" and has long, blonde hair that tends to frizz into curls, blue eyes, and a very small frame.
♚ FASHION: Beth tends to dress in layers of practical, feminine clothing. She wears cowgirl boots and favors necklaces and bracelets. She consistently wears her bracelets on her left arm, presumably to cover a scar on the inside of her left wrist. (In MoM, that scar is now in the shape of a heart.) In MoM, she tends to keep a scarf around her neck when she's out, to help disguise the bullet scar mentioned above.
♚ DEMEANOUR: When Beth's comfortable with her situation, she tends to be open, friendly, and quick with an easy smile. When she isn't, she tends to take a more guarded approach to people around her: blank looks, moving ghostlike through locations, trying to go unnoticed where she can.
♚ AURAL: Beth speaks English with a light Southern accent. Her voice is fairly high. She sings quite well.
♚ OLFACTORY: Soap, mostly, now that she can shower every day.
♚ MENTAL INFORMATION: Beth is a normal human without mental shields to speak.
♚ MAGICAL INFORMATION: Beth is not magical in any way, shape, or form.

☄ OOC

♚ BACKTAGGING: Backtagging is fine, but in general, I prefer to work steadily on threads if possible. I'll always get in touch with you to discuss details if I need to handwave something that hasn't happened yet for another thread.
♚ THREADJACKING: Always welcome.
♚ FOURTHWALLING: I'd prefer to avoid fourthwalling at this time.
♚ PHYSICAL AFFECTION: At heart, Beth's an affectionate person, and she's fine with hugs and cheek-kisses and handholding (and stuff and things) from people she likes and trusts. However, due to the canon point she's from, someone she doesn't know well getting a little too friendly is likely to put her on her guard and generally not be a good time. If you're not sure where your character would fall, feel free to ask.
♚ PHYSICAL VIOLENCE: Beth has killed both zombies and garden-variety humans. Violence is something she's learned to live with, and I'm fine with playing out/around fights, torture, killing NPCs, &cet. That said, let's be in contact over it so we know what to expect, and I'd rather write around the details of extremely violent or gory situations. For somebody who watches a zombie soap opera, I'm pretty sensitive to violence and will let you know if things get to be too much for me.
♚ RELATIONSHIPS: Beth is incredibly shippable--she has multiple boyfriends in canon and is clearly interested in dating. Het relationships will take significantly less buildup than femslash ones, but I'm willing to make either happen if you're interested! Drop me a line, and we'll discuss.
♚ DIFFICULT SUBJECTS: Beth comes from a dark, violent canon, and the following subjects have a good chance of showing up:
♔ Death, familial death, her own death
♔ Depression, attempted suicide
♔ Murder, general violence, physical assault
♔ Sexual assault

If you have questions or concerns regarding these issues as they pertain to Beth, please feel free to comment, PM me, or PP me at prettydoes. NB: Depending on the situation, it can be difficult to avoid these subjects entirely in narrative, as they have significant effect on her worldview and potentially her CR. However, I am happy to do my best to accommodate your needs, whether you'd like to opt out of certain subjects or playing with Beth in general.

☄ POWERS

♚ SINGING ILLUSIONS: By singing or humming, Beth can conjure illusions; items might appear to be there, but they have neither weight nor substance if someone else tries to affect them (by touch, breathing on them, &cet.). At its strongest, she could theoretically conceal herself and up to two other people behind them for as long as she can keep singing. (Needless to say, this would only work well in a noisy area!) Because she can conjure anything she can imagine, she could also use this skill to do something like conjure a blinding light to discombobulate a foe.
♚ CRACK/SCAR MANIPULATION: It's like Leonard Cohen sang--there is a crack in everything, that's how the light gets in. Anywhere there's a break in something, whether it's a pane of glass or a person's skin, Beth can control it. She can rearrange the lines of scars and cracks to create words and pictures, or to serve other needs (in theory, she could move scar tissue elsewhere on a body if it was making surgery difficult). She can also pull open holes in them, either to cause harm (such as to a person's body) or to create a path (such as through a cracked brick wall). She has to be within fifty feet of the crack/scar, she has to know it exists, and she has to mime whatever actions she's taking.
♚ DEVIL'S BARGAIN HEALING: Beth can heal others, but when she does, the pain/nausea/other symptoms siphons itself off from the other person to her for the duration of the healing. The more serious the injuries or illnesses are, the more it hurts her to heal others. When it's over, there's no lasting harm done to her, but she has to work through the pain to help the other person.

☄ PERMISSIONS

♚ OPT-INS/OPT-OUTS: Are you interested in potentially having your character's scars ripped open at some point? Do you never want to have your character experience her power? Are you concerned with another subject coming up? Please fill out the form below!
♚ NB: I will never have Beth use her power on your character without asking you first, even after you've opted in.

comments

mom app.

Sat, 07 Oct 2017 23:59:27 GMT

https://maskormods.dreamwidth.org/2184.html

〈 PLAYER INFO 〉
NAME: Dove
AGE:over 18
JOURNAL: littlemissfutility
IM / EMAIL: please pm this journal
PLURK: prettydoes
RETURNING: n/a

〈 CHARACTER INFO 〉
CHARACTER NAME: Beth Greene
CHARACTER AGE: 18
SERIES: The Walking Dead
CHRONOLOGY: Post-05x08 "Coda"
CLASS: Heroine
HOUSING: Opt-in.

BACKGROUND: Wiki page

PERSONALITY:
Beth is an unlikely survivor. At sixteen, she was a fairly typical teenage girl, caught up in music, school, church, and her boyfriend. And then the world ended.

Beth was safe on her family's farm for a long stretch of time, believing that they'd find a cure for whatever changed her mother and brother into slavering monsters. She was able to live in a world that was still normal, just smaller--with her father, her sister, her boyfriend, her neighbors, and a group of drifters camping out in the yard. It couldn't last, however; eventually, one of those drifters found out about the undead family and friends lurking in the barn, and every single one of them was gunned down in front of Beth. The loss of her mother and brother devastated her, her mother especially; thinking she was dead, Beth rushed to cradle her head and was attacked by what was left of the woman who raised her.

Her grief comes on soon after. It's overwhelming, and it forms the basis of the problem Beth struggles to solve for the rest of her life: How do I live in this world? How do I live with myself?

Her first answer is simple and brutal. After collapsing in a feverish shock, she lies catatonic in bed, overcome with a mix of horror and grief. She won't talk to the people around her. She doesn't eat the food she's brought, though she takes a steak knife away from the tray. The reason becomes clear: She doesn't want to live anymore.

I don't wanna be gutted. I wanna go. In this bed, tonight. With you beside me. Please.

Her life-loving sister is horrified. Beth and Maggie argue, neither of them able to convince the other of their side, until they're exhausted. While Beth's sleeping, another person in the house convinces Maggie to take a break from watching her sister. When Beth wakes, that person leaves her alone--purposely, which is pretty fucked up, but that's another story--and Beth takes the chance to lock herself in the bathroom and break a mirror, so she can cut open her wrists with the resulting shards.

As soon as Beth tries it, she realizes she was wrong: She doesn't want to die. Even if she doesn't know what she does want, she knows it's not that.

What she takes from this incident, the formative moment of her life post-apocalypse, is not only that overwhelming question of how do I live in this world but a stubborn need for self-determination in everything she does. She wants to die because she's afraid of a death she hasn't chosen; her greatest fear at that time is dying surrounded by encroaching walkers, or worse, torn apart by them. Later, she strongarms Daryl Dixon into going on a quest for the alcohol she's never been allowed to drink:

All I wanted to do today was lay down and cry, but we don't get to do that. So beat up on walkers if that makes you feel better. I need to do this.

The opportunity to try the forbidden is something she's choosing. It might not be much of a purpose, but in the wake of the tragedies she just lived through--her father's murder, the destruction of her home, the knowledge that she might never see her sister or the rest of their group again--it's enough to keep her going. She's going to get a damn drink, and for one day, that'll be the difference between living and merely surviving.

That moment also reveals how tenuously she manages the sadness she continues to feel. She's besieged by the desire to give up the way she did after her mother and brother died, but she knows she can never do that again. She's in a forest crawling with walkers, with little to her name besides the clothes on her back and a knife at her belt. She doesn't have the luxury of malingering. She keeps going because she knows she has to, but that doesn't always lead to smart decisions, and it definitely doesn't lead to personal fulfillment--except slowly, and with great effort.

For a while, when Beth and Daryl are on their own, she finds ways to live in the world that surrounds them. Her philosophy is fairly simple, but that doesn't mean it's easy to live by:

You got to stay who you are, not who you were. Places like this, you have to put it away. [...] You have to. Otherwise, it kills you.

Look forward, she's saying, instead of dwelling on the ugliness of the past. It's advice for Daryl--whose childhood was a place of pain, fear, and tacky ashtrays--but it's also advice she's taken for herself. She can't be the person she was when the corpses of her family were shot in front of her. That girl, and her responses to the world, have to remain buried inside the stronger, more capable person she's become.

And for a while, she can do that. She and Daryl travel in search of the rest of their group, and they spend a night in a well-kept funeral parlor. Beth doesn't allow herself to be dragged down in worries over whether she'll ever see her sister or brother-in-law again; she looks for the beauty in the world right in front of her, and she finds it. Whoever lived in the funeral parlor before them embalmed walkers and gave them the dignified deaths they deserved, and she appreciates it enough to defend the idea to Daryl. She plays the piano she finds in the building and sings along to her chords, grimaces over the thought of eating pigs' feet, and keeps an eye out for a stray dog wandering around the cemetery beyond.

The world she lives in is one of chaos, however, and the turmoil beyond the funeral parlor eventually leaks into the world she's starting to build with her friend. A walker attack sends them running, and Beth is kidnapped and taken away to Grady Memorial Hospital, a community that ostensibly helps the injured but really uses them as indentured labor. Beth is a prisoner of her own medical care--and of the police officers who keep the hospital in a stranglehold. The people in charge range from passive to actively malicious; in her time there, Beth witnesses unprovoked physical and sexual violence and comes to realize that the woman in charge is letting it all happen.

Grady is a test of all the truths she spoke to Daryl. It becomes her opportunity to find out if the beliefs that sustained her in the woods could stand up to the cruelty of an isolated society--one in which nobody has any reason to care for Beth in particular. The answer, it turns out, is yes, they can--though they can't help but be transformed by her experiences.

Beth kills her first person--her first living, breathing person, rather than an undead walker--at Grady. It's an accident born of administering the wrong medication to a patient, and it results in a friend of hers taking the blame and being beaten for the mistake. Every other person she kills there, she kills with great (and often frantic) purpose.

Those deaths represent a great shift for her. Beth Greene, who wept hysterically when her mother and brother were shot in front of her, moves from hapless bystander to a willing participant in death, and most of that shift comes from the hospital. After she mismanages Trevitt's medication, she knows what it feels like to kill someone who didn't harm anybody at all. Later, when she's trapped in a room with Gorman, an unrepentant rapist who's turned his eye towards her, she finds out what it feels like to cause the death of someone who meant a great deal of harm to her (and just about every other female patient in the building). It becomes evident that one of those deaths is harder for her to live with than the other; Beth later murders two more members of the hospital's leadership, knowing that each of them has abused their power and hurt innocent patients as a result.

She becomes, in other words, a killer with morals. More than that, she becomes a killer with goals. When she realizes that she was manipulated into killing Trevitts, she plans to stab the doctor who used her. That plan stops on a dime, however, when somebody she cares about is rushed into the hospital. Carol won't survive without Dr. Edwards to treat her--and for that reason, Beth lets him live. It's her opportunity to use him as he used her, toward a better ending.

Beth's willingness to kill, however, is tempered by her empathy and kindness toward others. She begins to live by a sort of inverse of the golden rule: Do unto others as they have done unto you. She brings Noah, another indentured patient and one of the only friendly faces in the hospital, with her when she attempts to escape. She does everything she can to keep Carol alive even when others in the hospital want to remove her from life support.

The warmth she shows for others goes back to the girl she's always been at heart, the one who cares for Rick Grimes' infant daughter as carefully as if she were her own and who treats Michonne's wounds after she's injured. Beth's had to learn to be tough, but she's never truly lost the virtues that guide her. If anything, she's learned that they're powerful tools in themselves. Near the end of her stay in the hospital, she spells out what is, essentially, her raison d'être:

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 says it to Dawn, the head of the hospital, who turns a blind eye to the evils that have gone on around her. But it's more than an accusation; it also serves as a statement of purpose for Beth, a pointed look into how she's come to function in the zombie apocalypse. Who Beth is and what the world around her looks like--those are her choices to make. She's grown into somebody who sees problems and tries to fix them, even if it means getting her hands dirty. It's not enough for her to keep her head down and try to survive, because there's no promise that anything else is coming to make up for what happens in the present. Nothing is left in the world but what she makes of it.

And for that reason, she kills Dawn in cold blood. Dawn, who manipulated her from the start and who let others abuse and manipulate in turn, has to die if anything in the hospital is ever going to change. Beth is shot for it, but the people left in the hospital have another chance, to try and make a world where the casual cruelty of the old guard is no longer tolerated. It's a harsh death for a girl who was once terrified of having no control over her own end--but by the time Beth's digging a pair of surgical scissors into Dawn's shoulder, an untimely death doesn't look anywhere near as unbearable as a life lived at the expense of others.

POWER: Beth has no canon powers.

♬ Singing illusions: By singing or humming, Beth can conjure illusions; items might appear to be there, but they have neither weight nor substance if someone else tries to affect them (by touch, breathing on them, &cet.). At its strongest, she could theoretically conceal herself and up to two other people behind them for as long as she can keep singing. (Needless to say, this would only work well in a noisy area!) Because she can conjure anything she can imagine, she could also use this skill to do something like conjure a blinding light to discombobulate a foe.

♬ Crack/scar manipulation: It's like Leonard Cohen sang--there is a crack in everything, that's how the light gets in. Anywhere there's a break in something, whether it's a pane of glass or a person's skin, Beth can control it. She can rearrange the lines of scars and cracks to create words and pictures, or to serve other needs (in theory, she could move scar tissue elsewhere on a body if it was making surgery difficult). She can also pull open holes in them, either to cause harm (such as to a person's body) or to create a path (such as through a cracked brick wall). She has to be within fifty feet of the crack/scar, she has to know it exists, and she has to mime whatever actions she's taking.

♬ Devil's bargain healing: Beth can heal others, but when she does, the pain/nausea/other symptoms siphons itself off from the other person to her for the duration of the healing. The more serious the injuries or illnesses are, the more it hurts her to heal others. When it's over, there's no lasting harm done to her, but she has to work through the pain to help the other person.

〈 CHARACTER SAMPLES 〉
COMMUNITY POST (VOICE) SAMPLE:

Um. Hi. I'm Beth.

[A teenager's voice comes over the network. It's fairly high and a little tentative, though it gains in confidence with every word.]

I'm new here, but I've been talking to other imPorts, and I know a lot of people have...you know, scars and stuff from places they come from. Not every world's as nice as this one. [A pause.] If you have any you don't like, I could help you do something about that. I can't get rid of them, but I can change them. Give them a different shape, or move them someplace else on your body. I won't charge you anything for it--I just wanna help.

If you're interested, let me know.

LOGS POST (PROSE) SAMPLE: TDM threads

comments

Fri, 24 Mar 2017 23:49:34 GMT

DARYL DIXON
»the dead and the restless

pigsfeet
dear diary,
daryl's here! he's been here as long as i have, but on the other side, so neither of us knew. it sounds like things suck over there, they tortured him with some drug they have. but he's okay. they could make him say anything they wanted, but it didn't change him. not at heart. not the stuff that makes him daryl, how he's grumpy about things that matter and cares way more than he wants to admit. he's stronger than truth drugs, that's what the cetas didn't count on.

[♬]

SONIA VORBARRA
»the vorkosigan saga

vorbratta
dear diary,
i think i have a friend. a real friend, one who's basically my age. her name's sonia, and she's been living out here for years. she understands what it's like, having everything disappear on you. fighting for things everybody used to take for granted. and even though it sounds like her planet's losing the fight, she still smiles at everyone. i want them to win, just so she can leave someday.

[♬]

LAKSHMI BAI
»the order: 1886

shri
dear diary,
it turns out her name isn't really rani, it's lakshmi bai. or lakshmi, and "bai" is like saying "ma'am" on top of it. rani just means something like queen or lady, i guess. it fits her, though. if you saw her, you'd know what i mean. the way she stands, you can tell she knows how to order people around...but she's nice about it. maybe it's because she's a fighter. she looks older now that she's back. i don't know if i'm going to ask her why. she didn't even tell me her name before, i think she has secrets she wants to keep.

[♬]

BYERLY VORRUTYER
»the vorkosigan saga

vorrutyer
dear diary,
i still don't get byerly. he's not really being a creep anymore, but he's still lying about being drunk all the time, and i don't know why. he's actually kind of fun to talk to if you forget about the way he turns it on and off, but something always reminds you. i never would have guessed he could sing or play the violin, but he's really good. it's the only thing i know he isn't lying about.

[♬]

WASHINGTON
»red vs. blue

protocol
dear diary,
spent all day in the sickbay tent again. wash was there, the one i introduced to moonfire. i think he'd probably be there 24/7 if somebody let him. he just goes and goes and doesn't stop, unless he's telling me i should take a break. he's not a hypocrite about it, though, just a nice guy. the kind of soldier you picture when you talk about supporting the troops. i wish i could tell him about home, he's a good listener.

[♬]

comments

permissions

Mon, 30 Jan 2017 04:58:23 GMT

☄ First Impressions

♚ VISUAL: In games (and, unless we're doing some s2-s3-s4 stuff, most memes/PSLs), Beth has two facial scars, on her left cheek and the right side of her forehead. She's 5'4" and has long, blonde hair that tends to frizz into curls, blue eyes, and a very small frame. If you want the extremely NSFW view of her body type, this is a gif of Emily Kinney in Masters of Sex.
♚ FASHION: Beth tends to dress in layers of practical, feminine clothing. She wears cowgirl boots and favors necklaces and bracelets. She consistently wears her bracelets on her left arm, presumably to cover a scar on the inside of her left wrist.
♚ DEMEANOUR: When Beth's comfortable with her situation, she tends to be open, friendly, and quick with an easy smile. When she isn't, she tends to take a more guarded approach to people around her: blank looks, moving ghostlike through locations, trying to go unnoticed where she can.
♚ AURAL: Beth speaks English with a Southern accent (Georgian, in particular). Her voice is fairly high. She sings quite well.
♚ OLFACTORY: The problem with the zombie apocalypse is that there aren't a lot of showering opportunities. When things aren't great, she smells like sweat, dirt, blood, and rot. In a situation where she can bathe regularly, she tends just to smell like the soap she uses. It's been a long time since she's been able to wear perfume, and that's more of a special-occasion thing anyway.
♚ MENTAL INFORMATION: Beth is a normal human without mental shields to speak of (re: telepathy).
♚ MAGICAL INFORMATION: Beth is not magical in any way, shape, or form.

☄ Background Deets

♚ BEFORE THE TURN: AKA, "before ~~zombies~~ walkers destroyed civilization." Beth was a fairly normal sixteen-year-old girl. She grew up on a farm in Georgia with her mother, father, and two half-siblings (one from each of her parents' previous marriages). She was a nice Christian girl who loved music (let her tell you about how great Tom Waits is let her tell you) and hated the idea of disappointing her father. The fact that she was invited to parties on the regular suggests that she was reasonably popular, and she was no stranger to boyfriends and the usual high-school drama.
♚ HER PEOPLE: For quite a while, Beth continues to live on her family's farm with her family, neighbors, and boyfriend. Eventually, a traveling group (Rick Grimes et al., AKA the main characters) sets up camp on their farmland, and the Greenes slowly become involved in their affairs. By the time the Greenes' farmhouse is overrun by walkers, they're one band of humans against the world, and that remains the case through the end of Beth's life.
♚ HER LIFE: After the world ends, it basically goes LIVING AT HOME > WANDERING AROUND IN THE WOODS > LIVING IN AN ABANDONED PRISON > WANDERING AROUND IN THE WOODS BUT THIS TIME WITH ONLY A SENSITIVE REDNECK FOR COMPANY > LIVING IN A FUNERAL HOME FOR LIKE A DAY > GETTING KIDNAPPED INTO A HOSPITAL. Aside from the first time in the woods and the hospital, she has good memories of all those places (along with some really shitty ones). Her story is all about looking for a way to live in a world that's drowning in death.
♚ HER DEATH: The hospital was an all-around suckfest, one which made camping with Daryl Dixon look like a dream vacation by comparison. The people in charge ranged from neglectful to abusive to out and out rapists, and Beth ended up killing almost all of them. At the end of her character arc, she has to make a choice: escape with her group and leave the other patients in a situation that will never improve, or try to kill the last person standing in the way of change before she leaves. Beth won't leave vulnerable people where they can be hurt by others--so she chooses to stab the woman in charge and pays for it with her life.
♚ FOR RP: That last arc involving the hospital includes a LOT of character development for Beth--it's the first time she kills humans (rather than walkers), for instance--so I prefer to play from after that point. I like Beth-lives!AUs, raising her from the dead and making her scrabble out of whatever grave she was buried in, jamjarring her, shoving her into other universes and bringing her back to life in the process, or AUing her into other canons with the main points of her backstory preserved. Or, you know, whatever else I can swing.

☄ OOC

♚ BACKTAGGING: Backtagging is fine, but in general, I prefer to work steadily on threads if possible. I'll always get in touch with you to discuss details if I need to handwave something that hasn't happened yet for another thread.
♚ THREADJACKING: Always welcome.
♚ FOURTHWALLING: I'd prefer to avoid fourthwalling at this time
♚ PHYSICAL AFFECTION: At heart, Beth's an affectionate person, and she's fine with hugs and cheek-kisses and handholding (and stuff and things) from people she likes and trusts. However, due to the canon point she's from, someone she doesn't know well getting a little too friendly is likely to put her on her guard and generally not be a good time. If you're not sure where your character would fall, feel free to ask.
♚ PHYSICAL VIOLENCE: Beth has killed both zombies and garden-variety humans. Violence is something she's learned to live with, and I'm fine with playing out/around fights, torture, killing NPCs, &cet. That said, let's be in contact over it so we know what to expect, and I'd rather write around the details of extremely violent or gory situations. For somebody who watches a zombie soap opera, I'm pretty sensitive to violence and will let you know if things get to be too much for me.
♚ RELATIONSHIPS: Beth is incredibly shippable--she has multiple boyfriends in canon and is clearly interested in dating. Het relationships will take less buildup than femslash ones, but I'm willing to make either happen if you're interested! Drop me a line, and we'll discuss.
♚ DIFFICULT SUBJECTS: Beth comes from a dark, violent canon, and the following subjects have a good chance of showing up:
♔ Death, familial death, her own death
♔ Depression, attempted suicide
♔ Murder, general violence, physical assault
♔ Sexual assault

If you have questions or concerns regarding these issues as they pertain to Beth, please feel free to comment, PM me, or PP me at prettydoes. NB: Depending on the situation, it can be difficult to avoid these subjects entirely in narrative, as they have significant effect on her worldview and potentially her CR. However, I am happy to do my best to accommodate your needs, whether you'd like to opt out of certain subjects or playing with Beth in general.

Modified from this code.

comments

silly deets

Mon, 30 Jan 2017 04:17:54 GMT

fb active perks
♫ armory access - restricted

♫ the countess' guard

♫ scout's honor

♫ training: archery

♫ ~~training:~~ horseback riding

♫ training: swordplay

♫ villagers' trust i

CHAOTICLAWFUL

PEACEFULVIOLENT

ALTRUISTICSELFISH

TRUSTINGSUSPICIOUS

LOGICALEMOTIONAL

HONESTDISHONEST

IDEALISTPRAGMATIST

BLUNTSUBTLE

HESITANTIMPULSIVE

comments

tracker

Fri, 30 Dec 2016 19:21:51 GMT

JANUARY, 2017
First log
☆ Top-level: Arrival
Byerly, Zarya
☆ Thread: Food and introductions
Sonia
☆ Thread: Ice-breakers
Miles
☆ Thread: Medical tent
Adrien
☆ Thread: Trudgery
Lakshmi

Second log
☆ Thread: Perimeter scouting
Adrien
☆ Thread: Liquor
Byerly
☆ Thread: Horses
Sonia
☆ Top-level: Around camp, including The Orphan Discussion
Lakshmi, Olivia

FEBRUARY, 2017
First log
☆ Thread: Listening at tent flaps
Negri
☆ Thread: Catching a traitor
Maine, Byerly
☆ Thread: Stable introductions
Duv
☆ Top-level: Execution and life in camp
Byerly, William, Pearl
☆ Thread: Eating horse
William

Second log
☆ Thread: Reunions
Daryl
☆ Top-level: Graves, parties, and hanging around
Daryl
☆ Thread: Never have I ever
Sonia
☆ Thread: Performing
Byerly
☆ Thread: Sick visits
Lakshmi
☆ Thread: Horsies
Washington

MARCH, 2017
First log
☆ Top-level: Triage and medical assistance
Duv, Lakshmi, Wash, Miles
☆ Thread: Sick friends
Sonia
☆ Thread: More sick friends
Daryl
☆ Thread: Sick friends' dads
Xav
☆ Thread: Death
Morgan

MEMES
☆ arranged marriage: fallout edition
hancock
☆ Lyrics prompt meme: Tattoos
Daryl
☆ Gen texting: more about pot
Glenn
☆ All future alms-AU stuff
Daryl
☆ Afterlife
Glenn
☆ picture prompt: talking raccoon edition
rocket
☆ Smut picture prompt: Alexandria AU
Luke
☆ Sex pollen
Sonia
☆ TFLN: 01.06.17
☆ tfln: head wounds
joel, bucky
☆ tfln: the little mermaid, hydrating
d33, rust
☆ tfln: cars in trees
archie
☆ tfln: dogs delivering pudding
laura
☆ word association: green
father gabriel, rick, rust

comments

hmd

Mon, 26 Dec 2016 23:12:15 GMT

Do you have any questions, comments, or concerns regarding the way I play Beth? Please feel free to reach out to me here, in a PM, or at prettydoes. Anonymous commenting is on, and IP logging is off.

comments