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Sep. 19th, 2017 11:44 am
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[personal profile] trombones posting in [community profile] rackofbadcds
Player Name: Amy
Contact: amymichellepage@gmail.com, plurk: cooltapes

Character: Sans
Series: Undertale
Canon Point: Post-pacifist

History:
- Undertale's History and Plot
- Sans' History and Plot

Personality: Sans is introduced in Undertale as a strange shadow that follows the player. A creepy ambience gets louder and louder until he finally reveals himself. Still in shadows, he holds his hand out. When “Don’t you know how to greet a new pal?” he asks you. The player takes his hand.

Cue a long, loud fart.

Goofy, shenanigans-style music fades in after a brief silence and the reveal: a short, stocky skeleton with a whoopee cushion in his bony hand, speaking in literal comic sans font and a “huhuhuh” sound bit.

From that moment on, Sans never stops being anything but a comedian. Sans is ridiculous, more than a gross, and infamously lazy. He drops frequent jokes and puns (especially about skeletons), drinks condiments straight from the bottle (as a joke probably, but?????), and barely puts efforts into most things. For example, Sans is a sentry, but according to monsters at a bar & grill he frequents, he doesn’t do anything but sit in his station and read magazines. If you talk to Undyne (his boss and head of the Royal Guard) at a particular point in the game, she mentions always catching him slacking off and sleeping… yet his results are just barely good enough not to fire him.
Sans’ casual attitude also makes him popular with others. He’s described by other monsters as fun to be around. He’s also something of a weird uncle depending on your actions. He often plays good-natured pranks on the player and others. At one point, he uses his vaguely-described teleportation powers to jump back and forth from one end of a room to another when the player isn’t looking. If talked to, he’ll ask if you’re following him.

Despite his slacker status, however, Sans is always interested in cheap and easy ways to make a buck. He has at least four jobs. He’s a sentry for multiple areas of the game despite putting the bare minimum of effort into them, and even runs an “illegal” hot dog stand. Somehow, the hot dogs are made of cattail plants plucked and put on a bun.

Beyond the surface, Sans is a lot more than a slacker. However, it defines his personality in more ways than one. It is inferred from multiple runs and moments in the game that Flowey, one of the main antagonists, used a special “reset” power to go back in time over and over. Flowey would then “play” with time. Similar to how video games will show you different endings depending on your actions, Flowey played with different outcomes in time – then reset so he could do it all over again. Eventually, Flowey started killing people. Sans became aware of these resets, and at one point was implied to have tried to stop them.

Unfortunately, the resets kept happening. No matter what Sans did, Flowey would continue to reset the timeline. Even the player, who has the power to reset, has the option of doing the same. So Sans gave up. What was the point of trying if everything would just reset? His apathetic perspective reflects as much. During the final boss of the pacifist run/ending, the player can find his lost soul (stolen from the boss), which asks them: “Just give up. I did. Why even try?”

Because of these resets, he has also become incredibly perceptive. He can pick up easily on expression and body language. This is also how he’s able to tell if a reset has happened before. To him, a player who has reset looks like they know what’s going to happen, like they’ve seen it all before.

San’s apathy is further shown in his “judgements”. At the climax of the game, Sans will appear before you meet the king of monsters and judge you for your actions. His responses depend on whether you’ve killed or spared enemies and bosses – a mechanic that affects most of the game’s story. In judgements where you’ve killed monsters, he keeps his casual, joking attitude. For the most part, he doesn’t think that anything he can do or say will change their mind or stop them from resetting. There are hints of seriousness to what he tries to tell the player, though, even asking them what he can do to change the mind “of a being like you”.

But not every part of this attitude is hopeless or nihilistic. Despite how beat-down how he’s become, Sans has enough hope to try and guide the player in the right direction, even when they’ve killed people. He’s the type to wait and see before he judges someone, and tries to give people a chance or at least consider their side of things. He explains in the darkest ending that he thought “the anomaly” (the one resetting the timeline) did what they did because they were unhappy, and that all they needed was “good food, bad laughs, and friends”. He knows people can change, but he also knows that not everyone is “good”. People are complex, and he knows that. Though it’s harder for him to believe that anyone can change (like his brother does), he still tries to weakly suggest they try not to hurt anyone, even if he isn’t sure if they’ll learn their lesson. Maybe there’s a chance they’ll change, but his kindness and patience isn’t unconditional.

Sans isn’t violent on his own. He admonishes the player for killing people, though it still comes across casual and/or sarcastic. He only fights you when your actions threaten the entire world, when he “can’t afford not to care anymore”. Then, he is ruthless and dangerous, becoming the hardest boss in the game. And even THEN, he still makes jokes.

If you refuse to kill anyone, however, Sans is a lot more hopeful. A lot of the fate and attitudes of Undertale depends on the players actions, and I play from a best ending. When the player is judged in the pacifist run, Sans encourages you. “You gained love. Does that make sense? Maybe not,” he says. In the best “neutral” ending (a requirement for getting the pacifist ending), he tells you that they WILL get out of the Underground. They WILL be free. After the player defeats the final boss of the pacifist run and helps him realize what he’s done, the boss releases the souls he stole, but not before telling you how he can feel how much those souls love you – Sans’ soul included. Despite popular opinion within the fandom, Sans cares. Despite its potentially dark endings, Undertale overall is a message of hope, love, and changing for the better. He’s a complex character worn down by his past, but monster souls are explained to be made of love, hope, and compassion – and Sans is no different.

Skills/Abilities: Sans is a monster, a race of beings made of magic instead of physical matter. This gives each monster unique abilities and powers. Most monsters use their magic to express themselves, for mundane purposes, etc., but can also be used to fight. Monster bodies are also closely linked to their souls, described in-game as being made of love, hope, and compassion. Feelings and emotions affect their body. For example, their will to fight will affect their defenses (in meta, their in-game character stats). Unfortunately, due to of their lack of physical matter, monsters are much weaker than humans – especially humans with killing intent.

Despite weak character stats (literally, his in-game character description is “the easiest enemy”), Sans is considered one of the hardest potential bosses in Undertale. One hit will kill him, but you have to catch him first. He can only deal one damage at a time, but his complicated attack set-ups accumulate fast.

Sans magic abilities include:
- Summoning bones
- Blue magic (in the form of his bones): An attack type in Undertale that only deals damage if the target moves. If the target stays still, the attack passes them harmlessly.
- Blue mode: An ability that can grab onto another person’s soul and turn it blue, increasing their gravity and making movement difficult. Sans can control the target’s gravity in blue mode, letting him throw them.
- Gaster Blaster: A summonable animal skull-shaped weapon that can blast a powerful beam attack.
- Teleporting: This ability is left ambiguous with no real explanation other than “it just happens”. Sans sometimes uses this ability as a shortcut. He can also teleport other people. In-battle, he uses it to force the human in particular places, and at one point uses it to keep them from moving. If they moved, he would teleport them back to their original point.

Network Sample: I hope this is okay as a sample!

Third Person Sample: The last thing he remembered was a highway. He remembered the sun on his face, wind rushing through his skull, the whirring of that cheap moped he bought, Papyrus threatening road rage…

Then here happened.

Sans opened his sockets.

It had been a while since he got here – yet his last memory of home still rang so clear in his head. The skeleton couldn’t decide if it was a good or bad thing.

On one side, it just reminded him he was stuck here. This was different from resets, multiple timelines, whatever. He was in the a completely different world now, and he had a feeling Frisk and that flower had nothing to do with it. There was no guarantee he was ever going home.

On the other hand… it was nice. Back before the kid, being constantly ripped in and out of timelines by a flower he could barely remember, he wasn’t even allowed the luxury of memories. Being able to remember all that stuff for once in his life felt good.
So maybe it wasn’t so bad.

The monster pulls himself off the bench. His bony knees knocked against the cardboard box he had set up in front of him. On top were rocks of different sizes, colors, and crudely-written names. Each five cents. Nobody had taken him up on his new pet store yet.

Welp. Sans shoved his hand in his pockets. Might as well check on everybody else. Wallowing around here reminded him – he wasn’t the only one quietly missing home. They were all in the same basket.

At the same time... even if there was no guarantee, at least there was SOME kind of chance. Right?

Besides. Frisk gave him a home to go back to. He might as well hang onto the chance himself.

Dear trick or treat writer

Sep. 14th, 2017 12:58 am
iwasanartist: (Default)
[personal profile] iwasanartist
Ao3 profile: iwasanartist

My favorite themes can be summed up in two words: Secrets and Sorrow. And if you give me two more: Solace and Sensuality. I love stories where emotions are honest and raw and the truth comes out and it doesn't much matter to me if it's two people in a relationship dealing with each other or one person trying to sort out their own life, or a combination of the two. Happy -- or happy-ish -- endings are good, but not always required.

I love (but do not require) some sexy fun times and some sexual solace/healing. And I love when people are newly physical with one another -- "first time together" as I've been tagging it. I'm pretty vanilla in my smut preferences. Light bondage and blindfolds is about as far as I like stories to go. But mostly, I need a big emotional aspect to it. If it's just sex for sex's sake, it's not worth it, to me. There's got to be something behind it.

I also don't mind a good fade-to-black, if you want to get physical and have that intention without actually going all the way. And some if not most of these prompts, I wouldn't expect to be sexual at all, so don't worry if that's not your thing!

DNW: BDSM. Incest. Readerfic. First-Person throughout. Bestiality.

Dirty talk. Dirty talk gets it's own section, because this is the point I realized just how strongly I felt about it. Really, I don't care for a lot of dialogue at all during love scenes. Not to say you have to be all "Here is a sex scene and no words shall pass these characters' lips!" about it, but I just don't enjoy explanations of what's going to be done or what someone wants to do to the other, or is it OK to do XYZ. For the first two, do it, don't say it. For the the third...I just generally work under the assumption that consent is implicit, and I don't generally enjoy seeing the flow of a good love scene interrupted with an "Is this okay?" or a "Can I do..." you know?

I've noticed a common trend is to have a character blurt out "oh fuck!" mid bone and really, that's just not sexy to me. That's more for the word than the sentiment. It's just not a word I find sexy. Ditto cock and dick, though I know it can sometimes be hard to write sex without them. Just, use sparingly. I think it's the short word, hard K sound that turns me off. Also, I have a weird aversion to the "Gods!" exclamation for characters that aren't explicitly polytheistic in canon. And I'm pretty sure I don't have any such characters in this letter.

On to the prompts!

AGENTS OF SHIELD (Treats)
HOLDEN RADCLIFFE, FITZ: I actually really liked Radcliffe by the end, and as much as he was able, I think he really did grow to care for Fitz, maybe even actually going so far as to feel fatherly toward him. At the very least, he loves having another Scot in the house. Play with that. And how does Fitz feel about Holden, a man who gives him respect and encouragement and can keep up with him intellectually. Just, never ever let them talk to each other about it, no no no. Pure character study here.

COULSON, DAISY: Coulson was pretty tough on Daisy when she came back into the fold last season. He was obviously and justifiably angry. But you know he was relieved to have her back. Explore. I absolutely DO NOT SHIP Daisy/Coulson and DNW it here.



CRIMINAL MINDS
SPENCER REID: Spencer Reid remembers pretty much everything. But the summer of 199x always felt like something was missing. Like someone had put a dingy filter on a camera lens, washing out the fine details. But when a series of murders takes the BAU to his hometown, the lens comes off and he finds himself facing the same old monster with a brand new club. Basically, I want a fusion with IT. Whether that means Spencer was a member of the an AU version of original Loser’s Club in Derry, Maine or part of a separate band of Vegas Losers who fought their own clown with its own feeding schedule. (Trick)

I went with 199x, because in canon Spencer was 12 when he graduated high school and was born in 1981. So I figure summer of 1993 or 1994 would be good options, either just after high school or just after his first year of college.

This one is so out there with the potential to be long, so I don't realistically expect anyone to take it on. But if you do and just want to just drop me in the middle of a piece of it, that's fine.

SPENCER REID: Nobody on the team knows it, but Spencer is really good at improv. It was a talent his mother insisted he cultivate so she knew he’d always be able to hold his own in conversations that didn’t require the recitation of memorized facts, figures and details. So when the Comedy Club Killer strikes, the team gets quite the surprise -- and a few unexpected laughs -- when Spence goes undercover with a local troupe preparing for their big show. This was kind of inspired by Whose Line Is It Anyway and Drew Carey's Improv-aganza. (Treat)



FULLER HOUSE
STEVE HALE, MATT HARMON: They both love DJ, and DJ loves both of them. So for her sake, Steve and Matt put aside their differences and form a triad. They just never really expected to fall for each other, too. (Treat)


STAR TREK: ENTERPRISE
REED, PORTHOS: Reed is left to watch over Porthos while everyone else is planetside. Spooky things happen and it's up to Reed and Porthos to figure out what's what. (Trick, unless you really REALLY want to make it a treat.)

TRIP, T’POL: Here’s the thing I noticed about Trip and T’Pol: They NEVER really just got to be. They were ALWAYS dancing around each other, but reacting like they’d actually had something more than T’Pol smashing her lips into Trip’s face a few times and dropping all her clothes for “sexual experimentation” once. I want to see them caring for one another. Being kind, gentle and intentional -- or at least honest! -- in their interactions and thoughts about each other. Ideally, this would be set during or after T'Pol's Trellium-D addiction, so she's got all those feelings and emotions right near the surface. (Treat)


SHRAN: One of the grosser things Enterprise did in its travesty of a finale was Jhamel/Shran. His interactions seemed much more fatherly toward her in The Aenar, so I’d like to see THAT relationship continue, maybe with Shran falling for her mother and starting a family that way. (Treat)

REED, J. HAYES: Reed and Hayes took the first steps to finding common ground after their fight in Harbinger, I think. But then they stepped back, stepped forward a little bit, and then Hayes died. I would like to see better progression for them. Whether it’s in grudging respect or the beginnings of a friendship (friends with benefits? Maybe.) (Treat or Trick if you want Hayes to end as Hayes ended)


STAR TREK: TNG
WESLEY CRUSHER, NICHOLAS LOCARNO, JOSHUA ALBERT: I might be in the minority, but I like Wesley and I really loved the episode where his flight squad is in an accident and Joshua Albert dies, and Enterprise figures out that they were trying a banned maneuver. I love it, and even though we never saw him, I shipped Wesley/Josh pretty instantly. But really? I want you to break Wesley. I want him to despair, and be full of memories of Josh he can’t bring himself to share. I want Locarno to be the charmingly evil bastard who intimidates him with violence as well as the words we saw on screen. I want Picard’s Pet Wesley to be shunned when classes resume and the resulting depression and angst from all of that to be what leads him away from Starfleet, not some random “I realized I was only there because of my dad!” nonsense. Just destroy Wesley Crusher. Lift him back up if you want to. (Trick the fuck out of this one)


X-MEN (ALTERNATE TIMELINE MOVIES)
ERIK LENSHERR, PETER MAXIMOFF: Erik finally finds out Peter is his son, and it’s not the explosion anybody expected. Nor is it sappy and weepy. A strained calm that barely contains his anger at being kept in the dark, but it does, because how can Erik be furious when he has family? You decide the circumstances of the reveal. (Trick or treat)

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