#abt.
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quick post abt austin and his wolfman form because i have not written about this yet somehow wtf. anyways.
i call it wolfman form, austin calls it wolfman form. he can turn into a full wolf, but mostly only did this when he was forced to growing up. wolfman form (half wolf half man) is a lot easier on his body so this is his default during full moons
you know all those old movies where the wolfman is big and hairy and has pointed ears and etc etc. yea, that's austin. think about the beast from x-men but more werewolf-y (aka not blue). he gets to be over six feet tall in this form, and just very big. in every sense of the word.
depending on the phase of the moon, and just in general how his mood and health is, he can be anywhere from completely in control of himself, to not really in control at all. this doesn't mean violent out of control, but rather stupid drunk out of control. he just kind of does embarrassing shit, like chasing butterflies.
red eyes, fangs, super sharp nails that can cut through a lot. yeah, he's kind of just overall pretty scary looking. even if he's not violent or anything, he is still definitely intimidating.
senses get a lot more intense for him, which mostly just leads to him feeling more like shit after the transformation is over. (which, he feels like shit anyways).
his left leg is a lot easier to walk on in this form. not fully healed, but he is a bit tankier and overall heals better in wolfman (or full wolf) form. so his body can handle the injury a bit better and push through any pain easier.
awoo
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i wanted so badly to be loved i started yelling at the whole world. i started fires, i started bashing windshields in with a baseball bat, i started cursing out gods and angels. i started carving holes in the side of my face so some light could get in. i wanted so badly to be loved that i made myself ugly. I MADE MYSELF UGLY AND STILL I AM NOT LOVED.
rain mars. web weaving.
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@mcmorare sent me this but guys this is just bear jones right here……..
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under the cut putting this incredibly sad scene i wrote of forrest finding the old hideout he used to spend time at with dustin when they were kids!! this takes place after dustin's ghost has moved on, and is written in screenplay format because i wrote it for a screenwriting course i was in. enjoy!
INT. THE HIDEOUT - AFTERNOON
The middle of the woods, but the trees are not the focus. In the middle of the frame is a small little... building?
It's hard to really call it much of anything, a bunch of wood having clumsily been constructed together at some point. It doesn't make much sense from an architectural point of view, but it somehow stays together, and seems to block a small area from the rain falling down.
Instead of a door, there's a small curtain, which is slightly soaked. Not a great design choice. None of it is.
For a moment, nothing, but then, Forrest enters the frame. He is shaking and cold, wet hair stuck to his head. With a gentle movement, he pushes the curtain out of the way, and heads into the little hideout.
He has to crouch to fit in the place, obviously having been constructed for someone who wasn't as tall. While it's drier inside, the ground is still wet beneath his feet, and there are a few holes that water gets through.
Forrest begins to go through his backpack, which is also soaked, making sure that everything inside isn't entirely ruined.
While he does, there are a few shots of the interior walls. We see drawings stuck up to the wall, the quality of art ranging from that of a child, to someone who has spent a lot of time on it. There's a couple of posters, things like "power rangers", or child favorites.
Focus goes back to Forrest, who is frustrated with the state of his backpack.
FORREST: Fuck.
Fingers flip through the pages of a notebook, which are sticking together due to the water. From the sounds of things, it's not like the rain is leaving any time soon. While he looks through a couple of the holes in the wood, and thinks for a moment, he eventually decides to stay put.
Things are (gently) put back into his backpack, and he decides to sit with his back against one of the walls, (we see the building shift just slightly from the weight). A moment or two passes, and then out of the corner of his eye, Forrest spots something.
A trunk would probably be the best way to describe the box that sits in a far corner.
It's one of the only places without a single drop of water, and obviously furniture that had been taken from a parent without permission.
There's a moment of hesitation, but then he decides to move from his spot, undo the latches, and open up the trunk. There's a couple different things that had been long forgotten. A couple of toys. A notebook. He doesn't seem overly interested in those, though.
Instead, he finds a couple of photographs, stuck at the bottom of the trunk. They feature young Forrest and Dustin. They're maybe ten years old, and the images feature them with big grins, probably taken by parents or another friend.
(Maybe Dustin is wearing a power rangers costume in one or something, a direct indication that he had a hand in building this little hideout and decorating it.)
His grip on the photographs tightens a bit, and his body begins to shake more. Finally, we realize that Forrest is crying.
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this is something just would tweet I think
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god I’m so stuck on the fact that no one expects to see lucy gray again. they don’t have televisions in twelve, aside from the really rich or sometimes for government reasons? most citizens just cannot watch the hunger games. they have absolutely no clue what’s going on. everything is just not recorded to the same degree, and so it’s likely that no one really knows what is even going to happen once reaped, unless they’re from a district really cozy with the capitol.
so when lucy gray does get back, everyone has already mourned her. it is nice to be home and everyone is certainly excited but… there is just something off. a feeling that she is a dead thing walking around in the place of the living. lucy gray was never district, so she has always stood out, but… never quite like this. even amongst the covey, she’s alone.
and this is before you even count any of the trauma she is dealing with, which we didn’t get to see. she references it a few times, that she jumps more often, or is easily scared. she says to coriolanus that she still hasn’t quite left the arena. but how often does she hide that?
lucy gray has always been performing for people her entire life, but it becomes even worse after the games. she isn’t herself anymore. her personality feels like a lie.
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It's sooner than later that I'm six feet under
It's sooner than later that you'll be alone
So who will you turn to tomorrow? I wonder
For when the bell rings, lover, you're on your own
I am the one who you let see you weepin'
I know the soul that you struggle to save
Too bad I'm the bet that you lost in the reapin'
Now, what will you do when I go to my grave?
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guys like he literally collects vintage denim and he stores a lot of his collection in his oven at his shitty lil apartment
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Personally, I just think he didn’t kill her and went to be by her side so she wouldn’t die alone. Like without the careers watching him, Peeta would not kill someone. And he would definitely not be so cold abt it if he had. He’s just lying to keep himself safe and went to be the one to check on her in hopes to make her death a little less terrible
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i am not a violent dog. i don't know why i bite.
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idk. rain was in an abusive situation where she never got to “save herself”. she feels ashamed of the way she viewed the situation as normal until she got out. she didn’t even get to fight. so I think if she witnessed an abusive situation it could bring out something feral and disgusting and violent within her in a way that nothing else could. does this make any sense guys.
on top of that, in all situations where rain runs into old members of ace, (ppl who worked there, not fellow victims), she always runs. there is that urge threatening to takeover but something about attacking them still feels dangerous and wrong and monstrous in a way she finds it easier to run from. killing them would be liberating but it would also destroy a part of herself that rain doesn’t know how to let go of.
she doesn’t know how to tell her inner child that it’s okay to be angry when you’re hurt. that you’re a human being. that now, she is safe. that child doesn’t need to exist any longer. rain isn’t her.
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ok. important bear jones details you will notice when looking at him
he always has the same jean jacket with him. even if he is not wearing him, it is within his reach. the jacket is super worn and the denim is faded, but in the way where it has become incredibly soft and comfortable. the jacket has become a comfort item for sure.
the chin scar!! on his right cheek, he has a very visible scar that goes down from the middle of his cheek to his chin. it is just an essential part part of bear jones lore. (no, he cannot remember what he even got the scar from).
his hair is always just a little too long. like, he always needs a haircut. even when he just got one, i feel like he never gets it cut short enough. when you catch him wearing hats (like baseball caps and such) he will always have hair curling up over the back of it
has like one pair of shoes and they are work boots that he got from bert. they make him look taller, and this becomes abundantly obvious the second you see him without them on. he not only is kind of short, he just has such short guy energy.
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indie & semi - selective multi - muse
ft. incarnations of tav & the dark urge
of bg3. by scout ; 21 + ; about , rules & roster .
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another sad forrest/dustin scene :) this takes place sometime after forrest has found dustin's ghost, and they have started to reconnect. it originally also included forrest coming out to dustin but i haven't found a way to write it in that makes sense, so that will likely be a different scene. anyways, this is from the same class so. also screenplay format
EXT. THE WOODS BEHIND FORREST'S HOUSE - EVENING
The scenery in this scene is beautiful, soft. Forrest and Dustin sit together, a small clearing surrounded by trees. If you look hard enough, you can see Forrest's house, but it's obscured by them. Far enough away that he feels like he can breathe, but still looming over him ever so slightly.
This is not the beginning of their time out here, though, it is the beginning of them starting to feel comfortable with each other. They're sitting in the grass together, with only a small amount of space between them. Forrest is well aware of that fact, allows himself to look over it for even just a moment.
DUSTIN: Y'know... I almost forgot how nice it is out here.
Dustin's eyes are on the view for only a moment before they fall on Forrest. Forrest's eyes shift, unable to meet his. So he focuses on the sunset instead. And then the grass beneath his fingertips. He pulls a couple pieces up, simply a way for him to fidget, but upon noticing this, immediately stops.
DUSTIN (CONT'D): I think the last time I was out here was uh...
He acts as if he's thinking for a moment. thinking. They both know what he wants to jumps in.
FORREST: Before Jane went missing.
Silence hangs in the air. It's Dustin's turn to avoid eye contact, pulling slightly at his shirt. Even ghosts can fidget.
FORREST (CONT'D): You guys practically used to live out here.
Dustin laughs. That's enough to lighten the mood a bit. It takes a bit off of Forrest's shoulders.
DUSTIN: Part of that was your parent's fault, dude. They were always inviting us over. What were we supposed to do? Say no?
The mood stays light for another moment, though, the realization comes to both of them that eventually he did say no. Quiet once again. Forrest moves himself just a little bit, not in an attempt to get away from Dustin, but rather, to curl up in on himself a little bit. In the process, the space does get a bit bigger.
There's a few moments where it looks like Forrest might say something. He'll open his mouth, maybe even say a syllable, and then give up. Dustin doesn't notice the first time, but after the second and third, he's staring, waiting.
DUSTIN (CONT'D): If you've got something to say, could you just say it?
Another moment spent with nothing. Dustin sighs, assuming that Forrest has given up on opening up once again. He even turns away just a bit. A silence that might have once been comfortable is exactly the opposite.
They sit. And sit. And sit. And then...
FORREST: I missed you.
The words are almost forced out of his mouth, and they carry a weight unlike any other. This is when they finally make eye contact. There's something almost like hope in Forrest's eyes, as he waits for a response. Dustin seems caught off guard, but only for a moment.
DUSTIN: I know.
Eyes move down to his hands. He can see the grass through them if he looks hard enough. And then, out of nowhere, a hand.
It's Forrest's. They aren't holding hands, because that's not possible anymore, but it's still contact. Or, as close as Dustin can get anymore. It's still warmth.
There's no immediate reaction from Dustin, his head down, staring at the hands, almost as if he's trying to hide from Forrest's glance. Forrest takes it as rejection, and slowly moves his hand back, until...
DUSTIN (CONT'D): No, don't.
That's all he has to say. Forrest's hand is brought back. They don't meet eyes again, but instead, both find themselves staring at the sun, which is almost entirely below the trees now.
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Introducing Beowulf of the Jolly Rogers. Interrogator, opportunity killer. Recently blind due to a very unfortunate house fire. Also known as Daphne Lourenço, local bisexual disaster.
full name: daphne lourenço
also known as: beowulf
date of birth: 16th september, 1995
place of birth: são paulo, brazil
gender: cis woman
pronouns: she/her
sexual orientation: bisexual & greyromantic
relationship status: taken
occupation: interrogator for the jolly rogers
education level: eng. lit. college dropout
financial status: poor
spoken languages: english, portuguese, spanish, italian
nationality: english & brazilian
STATS.
faceclaim: camila queiroz
height: 178 cm
body & build: slim, athletic
piercings & tattoos: ears pierced in multiple locations, no tattoos
vices: drinking, skin picking
sociability: not social, not not social either. you’ll see her around, but be a bit surprised if she talks to you other than to tell you to fuck off. she’s charming at best, terrifying at her worst. soft & mushy with the ones she loves. standoffish, but fun once you know her. kinda like a cat.
positive traits: intense, determined, devoted, quick-witted
negative traits: arrogant, volatile, violent, unpredictable
please note that daphne is entirely blind.
PATHÉTIQUE –– TCHAIKOVSKY
your blood as the tie that binds you to your kin, your cracked lips that spit out the words that cleave flesh into the shapes you envision. you, the horseman who bridles armies, fells kings, ties humankind in the taut string of control. only you see their desire to be split open, invaded, mangled and made anew. one-from-many, your hands are smeared with the blood of your people, whom you have carefully crafted into a creature that will do as you say. and love you back.
I. ADAGIO - ALLEGRO NON TROPPO
a toothake never fails to remind you of home, the roots underneath your gums slowly rotting, the pain spreading throughout your jaw. the ache, your body slowly forced to dapt, until the tooth is pulled, and what is left is a gaping hole in between white molars which your tongue catches in when you’re distracted. that hole is your home, where your memories all hide. painful if you press hard enough, always there to remind you of what should’ve been. you run your tongue against the row of teeth, and can almost imagine it still being there, but the feeling is foreign. always will be, when you expect memories to be there where there are none. but not in the way it felt foreign when you were a child loosing your milk teeth. this feeling is coated in a feeling of permanence you experience nowhere else.
II. ALLEGRO CON GRAZIA
the paint dries eventually. the rotten walls and floorboards give way to ruin. your childhood morphs into a troubled adolescence, and the fact that you make it out the other end is nothing other than pure luck. you travel the wrong paths, cross the wrong lines, fight the wrong people. for a long time, nobody has your back. but it doesn’t matter, because you can handle yourself. until you can’t.
resentment fills every cavity in your mouth, coats your tongue in a bitter taste. why can they have all the things i can’t? you think, and decide to finally take what is yours. delusions of grandeur run in your family, you would know, if you had ever met your parents. in truth, you have done nothing to deserve what others have, and taking it selfishly has consequences.
III. ALLEGRO MOLTO VIVACE
blood debts are not easily repaid, you learn. but indeptedness brings structure which helps you flourish. while your fate affords you no arrogance, little princess, you play pretend in your castles of dirt. you can become anyone you want, as long as you try hard enough. all your life you’ve lived in unforgiving conditions: this is nothing new to you. but did you remember how easy it is to lose your grip on reality? no? how sad.
little beowulf they call you, and hand you a knife. do our bidding, they tell you, and you obey. your debts are quickly paid, but it’s already too late. you’re nothing without them. nothing without your knife.
IV. ADAGIO LAMENTOSO
how a beast like you learns to love is a mystery, one you are not keen to figure out. but love has unwanted consequences. it usurps your life, grabs you by the neck, twists until you can no longer breathe. it holds onto you, hangs over you like a thick velvet drape: comforting and suffocating at the same time.
you’ve never been in control. and you aren’t now.
now, you are nothing to be afraid of; you have torn yourself in half. strange— almost unearthly, your skin pale white and blossoming in rash. your neck outstretched, you beg for god to deliver her final blow, and for her to relieve you of all your suffering. you were fifteen for twenty years, and twenty-seven for none of them. everyday you reconstruct yourself, slice yourself from your neck to your groin, hoping that you can extract yourself from your own body, and become the monster you want to be.
TLDR for those too tired to decipher purple prose bullshit: daphne was born in são paulo, but remembers little to nothing of her childhood. her father died like many, in a robbery gone wrong. her mother took her and her big brother and fled to england, where the two kids were eventually abandoned and ended up in the system. things never really got better before daphne joined the jolly rogers after killing one of their own in a street fight. she owed a debt and had to repay it with work or her life, it was an easy choice.
this led to her finally finding her place in this world, and for a long time everything went smoothly. until love happened, and it completely took her by surprise. she wasn’t the loving type, but suddenly she was running away from the only family she ever knew (mainly javier) to start a new life with lilli. but, as god or whoever the fuck would have it, things went to shit real quick and a year later daphne’s back in london after losing her eyesight in a fire. she’s insecure and lashing out, struggling to figure out her place after her new disability.
also: she used to have a fucking god complex (still does) but her ego took a severe hit lol. anyway enjoy your local psychopath bisexual trying to tragically navigate their work/life balance while figuring out a healthy relationship with themselves. ripppppp
i’ll write something better at some point i promise.
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