Erik (The Phantom of the Opera) (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
ingenue_bait) wrote2018-02-27 09:31 am
ingenue_bait) wrote2018-02-27 09:31 am
Entry tags:
TLV Permissions
OOC PREFERENCES:
•CONTACT METHOD: Plurk (![[plurk.com profile]](https://plurk.com/favicon.ico)
original_fine or here
•THREAD-JACKING: Go for it!
•FOURTH WALLING / CANON PUNCTURE: That's fine--there are SO MANY versions of this story that it sort of plays into his own myth, you know? Even if he'd be super confused by Gerard Butler.
•BACKTAGGING: Always.
•AVOIDED TOPICS: I'm good with pretty much anything.
IC CHARACTERISTICS:
•CURRENT CANON POINT: Christine has left, and Erik has declared that he is "dying... of love!"
•PHYSICAL DESCRIPTION: Ugly. This is gonna get long. Erik was, as a boy, exhibited as the Living Corpse and has retained this emaciated state into adulthood. Despite this, he is alarmingly strong, as he stores little fat and what he has is muscle. He is tall, but not unusually so by our standards; something over six feet, but his extreme thinness makes him seem taller. His limbs are slightly longer than average, as are his fingers. His skin has an unhealthy pallor to it and is somewhat mottled. However, I should note that his voice (speaking and singing) is unnaturally beautiful. Melodious and perfectly under his control.
His face, should anyone be unlucky enough to see it, resembles not so much a skull as a skull with greyed-yellowed skin stretched over it. The cartilage is missing from his nose, which gives him the appearance of having a hole instead. This did not remove his sense of smell, but has compromised it over the years due to lack of protection of the cilia and olfactory nerve. His ears also show some signs of this cartilage lack, though it is not a generalized condition. His eyes are sunken, and appear black and bottomless in the light but yellow in the dark. His mouth is nearly lipless. Altogether the effect is strikingly corpse-like, made all the worse for the face being animated.
Erik's habitual attire is a black mask and evening dress, whatever the time of day. He is typically careful with his clothing, and has his measurements on file with a discrete tailor. However, he is also capable of neglecting his appearance entirely while preoccupied with other matters. He does, however, keep his fingernails blunt for musical purposes. Because of the underground conditions, combined with his periodic neglect of his person and diminished sense of smell, Erik can smell unpleasantly like a combination of must and body odor. When out and about, Erik is wrapped in cloak, mask and hat all in black. On the occasions when he must go above-ground, such as for provisions, Erik has a false nose which he wears with glasses, though he keeps his face in the shadows as much as possible. He also has a flare for the dramatic, as witnessed in his Red Death costume. On those historic occasions when he revealed himself to the denizens of the opera (the managers' dinner, the Bal Masque) it was his own face he wore.
•DEMEANOR: Having lived so long either on the fringes or completely without society, Erik doesn't really know how to act around people. He will veer between terribly formal and hopping around like a monkey. He'll be considerate and gentlemanly one minute and threatening to kill you or groveling at your feet the next. He has this idea that he *wants* to be a middle class gent but he doesn't really know what that means. He can speak quite formally, but sometimes falls into referring to himself in the third person. He's also very elegant in his movements, though this can become grotesque given his appearance and the violence he's capable of.
•ABILITIES: Erik has no supernatural powers, though he's incredibly intelligent and very strong. He has skills which can look like magic to the observer, including sleight-of-hand and ventriloquism. He does appear somewhat supernatural in the novel, mostly because he's written to be able to do things he probably shouldn't be able to? He is skilled at killing, though typically he does so by stealth and invention. He's got a highly (self-)trained musical and engineer's mind.
•MEDICAL INFORMATION: Erik's medical condition is probably fictional but we can discuss whether there's anything to be done about his congenital deformities. He does lack a lot of his sense of smell, which can lead to poor nutrition. He's also a human male of about fifty.
•CABIN INFORMATION: The door is a simple, wooden door set into a stone frame, such as you'd see on an old cellar or crypt. Inside, however, the room is an overdone French nightmare--furniture from Erik's mother's house is crammed in next to a grand piano, a coffin in the corner, and every available surface is covered in manuscripts or items from Erik's voyages to various exotic locales.
•OFFENSIVE SUBJECTS: His face, Christine, music... Look, at first talking will seem offensive.
IC PERMISSIONS:
•MENTAL: Do it.
•MIMICRY: Sure, they can try!
•VIOLENCE: Yes.
•MAGIC: Yes.
•DEBATE: Totally.
•OTHER / NOTES: Lots of stuff will offend Erik because he's essentially decided he's not part of humanity. He is both above and below, if that makes sense. So it's not you, it's him--he needs to be confronted about all of this in a place where he can't just murder his way out.
•CONTACT METHOD: Plurk (
•THREAD-JACKING: Go for it!
•FOURTH WALLING / CANON PUNCTURE: That's fine--there are SO MANY versions of this story that it sort of plays into his own myth, you know? Even if he'd be super confused by Gerard Butler.
•BACKTAGGING: Always.
•AVOIDED TOPICS: I'm good with pretty much anything.
IC CHARACTERISTICS:
•CURRENT CANON POINT: Christine has left, and Erik has declared that he is "dying... of love!"
•PHYSICAL DESCRIPTION: Ugly. This is gonna get long. Erik was, as a boy, exhibited as the Living Corpse and has retained this emaciated state into adulthood. Despite this, he is alarmingly strong, as he stores little fat and what he has is muscle. He is tall, but not unusually so by our standards; something over six feet, but his extreme thinness makes him seem taller. His limbs are slightly longer than average, as are his fingers. His skin has an unhealthy pallor to it and is somewhat mottled. However, I should note that his voice (speaking and singing) is unnaturally beautiful. Melodious and perfectly under his control.
His face, should anyone be unlucky enough to see it, resembles not so much a skull as a skull with greyed-yellowed skin stretched over it. The cartilage is missing from his nose, which gives him the appearance of having a hole instead. This did not remove his sense of smell, but has compromised it over the years due to lack of protection of the cilia and olfactory nerve. His ears also show some signs of this cartilage lack, though it is not a generalized condition. His eyes are sunken, and appear black and bottomless in the light but yellow in the dark. His mouth is nearly lipless. Altogether the effect is strikingly corpse-like, made all the worse for the face being animated.
Erik's habitual attire is a black mask and evening dress, whatever the time of day. He is typically careful with his clothing, and has his measurements on file with a discrete tailor. However, he is also capable of neglecting his appearance entirely while preoccupied with other matters. He does, however, keep his fingernails blunt for musical purposes. Because of the underground conditions, combined with his periodic neglect of his person and diminished sense of smell, Erik can smell unpleasantly like a combination of must and body odor. When out and about, Erik is wrapped in cloak, mask and hat all in black. On the occasions when he must go above-ground, such as for provisions, Erik has a false nose which he wears with glasses, though he keeps his face in the shadows as much as possible. He also has a flare for the dramatic, as witnessed in his Red Death costume. On those historic occasions when he revealed himself to the denizens of the opera (the managers' dinner, the Bal Masque) it was his own face he wore.
•DEMEANOR: Having lived so long either on the fringes or completely without society, Erik doesn't really know how to act around people. He will veer between terribly formal and hopping around like a monkey. He'll be considerate and gentlemanly one minute and threatening to kill you or groveling at your feet the next. He has this idea that he *wants* to be a middle class gent but he doesn't really know what that means. He can speak quite formally, but sometimes falls into referring to himself in the third person. He's also very elegant in his movements, though this can become grotesque given his appearance and the violence he's capable of.
•ABILITIES: Erik has no supernatural powers, though he's incredibly intelligent and very strong. He has skills which can look like magic to the observer, including sleight-of-hand and ventriloquism. He does appear somewhat supernatural in the novel, mostly because he's written to be able to do things he probably shouldn't be able to? He is skilled at killing, though typically he does so by stealth and invention. He's got a highly (self-)trained musical and engineer's mind.
•MEDICAL INFORMATION: Erik's medical condition is probably fictional but we can discuss whether there's anything to be done about his congenital deformities. He does lack a lot of his sense of smell, which can lead to poor nutrition. He's also a human male of about fifty.
•CABIN INFORMATION: The door is a simple, wooden door set into a stone frame, such as you'd see on an old cellar or crypt. Inside, however, the room is an overdone French nightmare--furniture from Erik's mother's house is crammed in next to a grand piano, a coffin in the corner, and every available surface is covered in manuscripts or items from Erik's voyages to various exotic locales.
•OFFENSIVE SUBJECTS: His face, Christine, music... Look, at first talking will seem offensive.
IC PERMISSIONS:
•MENTAL: Do it.
•MIMICRY: Sure, they can try!
•VIOLENCE: Yes.
•MAGIC: Yes.
•DEBATE: Totally.
•OTHER / NOTES: Lots of stuff will offend Erik because he's essentially decided he's not part of humanity. He is both above and below, if that makes sense. So it's not you, it's him--he needs to be confronted about all of this in a place where he can't just murder his way out.