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APPLICATION
PLAYER
↠ Name: Ronen
↠ Age: 30
↠ Characters Played: n/a
CHARACTER
↠ Name: Eliot Waugh
↠ Canon: The Magicians
↠ Journal: thegreatestproject
↠ Canon Point: 1x12, Thirty-Nine Graves, near the end of the episode.
↠ Reserve: http://sinfulmods.dreamwidth.org/2145.html?thread=207457#cmt207457
↠ Age: Late 20s
↠ Appearance: Eliot is tall (6'2") and slender, with curly dark hair and pale brown eyes. He stands very straight and moves fluidly, with 'effortless self-possession.' In other words, he can give off an air of being comfortable in his surroundings almost anywhere, and he always makes a point to dress impeccably. He has no tattoos or notable scars. His bearing changes very little when he's drunk or high (which is often enough that it should be mentioned), but it does become much more deliberate, more careful, less natural-looking. It starts to crack only when he's intoxicated and/or under immense stress: then he becomes fidgety and less aware of what his body is doing. The fidgeting is localized mainly in his hands: he might sit with his hands hugged tight to his sides to stop them moving, or unconsciously swing a loose fist next to his leg.
↠ Reference/History: ((All the wikis that exist are kind of balls, so here's a written history. This is largely tv-show canon, with some book canon mixed in where it does not contradict the show.))
Eliot was born in approximately the Middle of Nowhere, Indiana to a family of farmers. He was the youngest of four boys. While his older brothers were all sturdy athletic types, skinny, intellectual Eliot was the odd one out. His good-hearted older brothers did what they could to protect him from school bullies, which were abundant and brutal - and couldn't always be prevented from wreaking damage on a smart kid with neat hair and pressed pants.
He knew that he was gay before he knew there was even a word for it, and he learned the word right around the same time as he learned the word 'faggot' and what it was like to be stuffed inside a locker. Middle school and high school were a nightmare, especially as his brothers got older and less willing or available to fight his fights for him. Being unable to properly defend himself physically, Eliot put up what defenses he could: escaping reality through various forms of media (including Christopher Plover's 'Fillory and Further' book series), slowly forging his facade of disaffected, lofty elitism, charging with full academic speed toward the day he could leave Indiana in the rear-view.
His magical talents also began manifesting before he received his invitation to Brakebills Academy, albeit in subtle ways. In his teens, he managed to telekinetically ram a bus into a boy who'd been bullying him, resulting in the boy's death. Over time, Eliot would realize that he'd been responsible for what happened, and start to develop his magical abilities in secret.
Somewhere in his mid-twenties, he received a unique invitation. The invitation's form is different for all who are summoned, but the heart of it is the same: Eliot had been selected to take the entrance exam at Brakebills, an institution of higher education in upstate New York that was kept completely secret and hidden from the outside world, because the curriculum was magic. If Eliot had failed the entrance exam, he would have been sent home, his memory wiped of the experience... but he passed, and accepted his acceptance with no hesitation.
As he moved from under- to upperclassman, Eliot collected himself a rotating harem of sexual partners from among Brakebills' small student body. He also got himself some actual friends, a process which was part chemistry and part design. They were known as the Physical Kids, after the fact that all their specialized magical Disciplines had something to do with manipulating physical elements.
The episode guide ( https://en.wikipedia.org/wiki/The_Magicians_(U.S._TV_series)#Episodes ) gives a good overall summary of events covered in the show. Eliot is shown to be in a very close platonic relationship with Margo, a fellow student in his year. His most significant personal plotline is his relationship with Mike, a Brakebills alumnus who turns out to be under the influence of the big bad (known only to our heroes as "The Beast"). When Mike, under the Beast's control, kills one person and threatens another, it is Eliot who comes across the scene first — and who subsequently strikes Mike down.
↠ Personality: Most people meeting Eliot for the first time will be faced with an extraordinarily thick outer shell of Gives No Fucks. He carries himself with a general loftiness, as though he's operating on a level higher than other people. This persona is deliberate, carefully crafted as a way for Eliot to cut as many ties as possible with his life before Brakebills, and to keep himself generally distant and aloof. In fact, there is much of Eliot that is about appearances: luxury, ceremony, etiquette. He likes having rules about things, particularly himself and the way he acts. It's a way of claiming a sense of control in his life, and a sense of ownership over himself.
As much as he pokes fun at Quentin and Alice for being 'nerds,' there's more than enough evidence to suggest that Eliot isn't as un-nerdy as he'd like others to think. He knows enough about Harry Potter to make an 'Avada Kedavra' joke, for one example, and just before the gang goes to Fillory, he reveals that he remembers more about Plover's books than he's been letting on. While he hasn't been able to totally leave it behind, in a way Eliot would like to forget that part of himself — after all, his phase of escapism into fantasy worlds was wrapped up in his desire to get the hell out of Indiana. The only way it comes out anymore is when he's deep in his cups, or is leaning more goofy than sardonic in his humor.
Through his relationship with Margo, we get to see how Eliot is with someone he considers a true friend. Behind his mask, Eliot is capable of caring deeply and expressing unwavering support: after all of them experience a harrowing vision of the potential future, Eliot's first instinct is to turn to Margo, bring her back down to Earth, and tell her how fabulous she is. He's also quite perceptive: his extensive experience with his own bullshit has given him a keen ability to sniff it out in others, as well as a sense of what's going on beneath someone's surface.
Often, Eliot will still act within the bounds of his persona with Margo, but there's the sense that it's fully understood for the facade it is. Both of them have a certain face that they prefer to present to the world. They make allowances so that they can both be that preferred self to each other.
In addition to being magically talented, Eliot has always been intelligent and fast on his metaphorical feet. He picks up on concepts and adjusts to new situations quickly. It isn't easy to make him look stupid or ill-prepared because even when he comes across something he doesn't understand, he either asks questions or decides it isn't worth his time. It's a side-effect of his conceit never to let himself look stupid.
That being said, he doesn't tend to seek out knowledge when there isn't a pressing reason to. Eliot has a trait commonly found in people who are both brilliant and lazy: he never had to work at being smart, so he doesn't. And Eliot is lazy. Given the opportunity, given nothing to pursue or learn (nothing he deems worthy, anyway), he is perfectly content to lounge around day in and day out, doing little else but drinking and cavorting with his latest conquest. Given the wrong set of circumstances, this side of Eliot could easily destroy him. The truth is he needs a little something, anything, to prop up his work ethic (such as it is) and keep him occupied, or he runs the risk of vaporizing in a cloud of cigarette smoke and ethanol.
This risk has been recently compounded by his relationship with Mike, who was being influenced by the Beast. His betrayal, and the fact that Eliot was the one who had to kill him, dealt a blow to Eliot's psyche that's still a long way from healing.
↠ Powers / Abilities: Eliot was born with a talent for magic the way some people are born with a talent for music or math - he just gets it. While in the world of 'The Magicians' most people have to go through hours of back-breaking tedious study in order to learn any one spell, Eliot can pick them up in a fraction of the time. He may not be the most powerful, and he's not as good as he could be if he felt inclined to apply himself, but he's got aptitude on his side.
Magic in Eliot's world can do almost anything with few exceptions, but there are consequences for misuse. Spells can go wrong or get out of control, either because the magician isn't powerful or practiced enough or because the spell wasn't written properly. Using strong magic in a heightened emotional state is advised against, as it can lead to the user turning into a being of pure energy (and then dying).
It's also worth noting that Battle Magic (that is, spells which are made to be used in combat) takes an especially high level of focus. Eliot in particular has only been able to use it under two circumstances: first when confronting Mike (which would qualify as, as another character put it, a "baby-under-a-car" scenario), and again while under the influence of a spell that removed his emotions (thus allowing him to focus more easily).
As far as non-magical talents go, Eliot is highly intelligent in general, as anyone has to be to pass muster at Brakebills. He's also a walking encyclopedia of booze, particularly esoteric wines and mixology, and he can cook well.
↠ Languages: English (native language). He is not fluent in anything else, but like many educated people, he knows a lot of scattered random phrases from Latinate languages.
↠ Inventory: A very nice set of clothes ( http://www.theworkprint.com/wp-content/uploads/2016/04/NUP_170416_0364.jpg ), a small amount of cash, his cigarette case, and a bottomless flask of whiskey.
↠ Reason for Playing This Character: Eliot is one of my older muses (the journal for my bookverse version of him was made in 2012). I enjoy playing out his self-aware self-destruction, as well as the way he navigates social situations. I'm interested in taking him further down the path he's already on in the City of Sin, seeing how his need to survive balances with his emotional issues, and seeing how being in a world that actively embraces sinful behavior affects him. I had a great time with other characters in Bete Noire while it was around, and I'm excited to play in a similar setting with a lot of the same people again.
↠ What is Your Character's Sin?: Gluttony. While Eliot's had a self-destructive streak for a long time, it's especially true at this point in his life. After Mike's death, he sank down into a spiral of overindulgence in intoxicants of all kinds, particularly alcohol, stimulants, and hallucinogens. He never goes anywhere without his bottomless flask, and he'll take a chance on just about any substance if it promises something new and interesting. He stopped actively hitting rock bottom a while back — now, it's more like he found a cozy nook down there and has settled in for the long haul.
SAMPLES
↠ First Person:
[Here's Eliot, sat at a coffee table with an array of mixing equipment in front of him: a cocktail shaker, an ice bucket, a couple of bottles, an orange and a peeler, a jar of cherries, and a rocks glass. He pops the top off the shaker and starts scooping ice into it.]
The perfect Manhattan. [Naming the steps, then, one by one, as he goes through them:] Two parts whiskey... one part vermouth. A dash of bitters — keep a light touch on those. A nice, solid piece of orange peel... rubbed around the rim of the glass. Shake... [He does, then pours the drink, finally adding two cherries.] ...and serve.
[He picks up the glass, leans back on his couch, and takes a sip. Then, it's down to business.]
The name's Eliot, and I'm here to make myself — available. I can teach you mixology, how to taste the difference between a Bordeaux and a Burgundy, how to match your tie to your trousers to your cufflinks, or make you a mean puttanesca sauce. [A beat, after which he looks directly into the camera.] Generally, anything is open to negotiation.
Daddy needs a new set of dress boots, after all. My other pair's back on Earth. [He takes one more drink, then licks the excess from his lips. Inviting whoever would like to respond to join in.]
↠ Third Person:
Brakebills South was a miserable hellhole in the classic Seventh-Circle-of-Dante sense: a freezing castle in a frozen wasteland, a silent and suffocating tomb where every student was, in their turn, forced to study under the slave-driver Professor Mayakovsky. The forced speechlessness, the oppressive workload, and the stark surroundings managed to wear everyone down in their own special way. Depravity of all kinds became commonplace in the fleeting moments of free time.
It was under these circumstances that Eliot had found himself kneeling on the cold stone floor, forcing his frozen and overworked fingers into the shape of a spell that would undo the wards and unlock Mayakovsky's office. Boredom, desperation, and a growing resentment of the Professor had driven him to actively study the security measures, to work up the proper ways of getting around them.
After all, Mayakovsky had plenty of what was known in the vernacular as 'The Good Shit,' or at least what qualified for it around here. And now, thanks to less than a minute inside the room, Eliot did too.
The label was in Russian. The stuff inside tasted like sour water. It burned twice: first with a freezer-burn in his throat, so cold that he thought his tongue would turn solid, but the second time was warmer, a heat that pooled through him down to his toes. Eliot grimaced as it went down, but underneath that was a sense of satisfaction. Even if the bastard had a dozen more bottles stashed away somewhere, he wouldn't be getting this one back.
Eliot found Margo wandering the halls, looking not like herself at all: limp, oily hair and vacant eyes. He watched the light come back into them as they sat in a secluded corner, passing the bottle back and forth (one of them occasionally snatching it out of the other's hand). It wasn't long until the walls were spinning, and Eliot's brain felt like it'd been turned to soup. He could barely even sit up anymore: he'd fallen sideways into something more like a lounge, propping himself up from the floor with one elbow.
But there was still a quarter of the bottle left. Eliot laughed silently, at nothing at all, adjusted the elbow that was holding him up, and threw back another swallow.
↠ Playing Sample: City of Sin TDM - http://cityofsin-ooc.dreamwidth.org/57295.html?thread=1198031#cmt1198031
↠ Additional Samples: Eliot and Quentin in NY - https://misc-and-other.dreamwidth.org/3306.html. Rated NSFW for kink. More of a book-canon setting rather than the tv show, but Eliot's characterization is the same.
↠ Notes: n/a
PLAYER
↠ Name: Ronen
↠ Age: 30
↠ Characters Played: n/a
CHARACTER
↠ Name: Eliot Waugh
↠ Canon: The Magicians
↠ Journal: thegreatestproject
↠ Canon Point: 1x12, Thirty-Nine Graves, near the end of the episode.
↠ Reserve: http://sinfulmods.dreamwidth.org/2145.html?thread=207457#cmt207457
↠ Age: Late 20s
↠ Appearance: Eliot is tall (6'2") and slender, with curly dark hair and pale brown eyes. He stands very straight and moves fluidly, with 'effortless self-possession.' In other words, he can give off an air of being comfortable in his surroundings almost anywhere, and he always makes a point to dress impeccably. He has no tattoos or notable scars. His bearing changes very little when he's drunk or high (which is often enough that it should be mentioned), but it does become much more deliberate, more careful, less natural-looking. It starts to crack only when he's intoxicated and/or under immense stress: then he becomes fidgety and less aware of what his body is doing. The fidgeting is localized mainly in his hands: he might sit with his hands hugged tight to his sides to stop them moving, or unconsciously swing a loose fist next to his leg.
↠ Reference/History: ((All the wikis that exist are kind of balls, so here's a written history. This is largely tv-show canon, with some book canon mixed in where it does not contradict the show.))
Eliot was born in approximately the Middle of Nowhere, Indiana to a family of farmers. He was the youngest of four boys. While his older brothers were all sturdy athletic types, skinny, intellectual Eliot was the odd one out. His good-hearted older brothers did what they could to protect him from school bullies, which were abundant and brutal - and couldn't always be prevented from wreaking damage on a smart kid with neat hair and pressed pants.
He knew that he was gay before he knew there was even a word for it, and he learned the word right around the same time as he learned the word 'faggot' and what it was like to be stuffed inside a locker. Middle school and high school were a nightmare, especially as his brothers got older and less willing or available to fight his fights for him. Being unable to properly defend himself physically, Eliot put up what defenses he could: escaping reality through various forms of media (including Christopher Plover's 'Fillory and Further' book series), slowly forging his facade of disaffected, lofty elitism, charging with full academic speed toward the day he could leave Indiana in the rear-view.
His magical talents also began manifesting before he received his invitation to Brakebills Academy, albeit in subtle ways. In his teens, he managed to telekinetically ram a bus into a boy who'd been bullying him, resulting in the boy's death. Over time, Eliot would realize that he'd been responsible for what happened, and start to develop his magical abilities in secret.
Somewhere in his mid-twenties, he received a unique invitation. The invitation's form is different for all who are summoned, but the heart of it is the same: Eliot had been selected to take the entrance exam at Brakebills, an institution of higher education in upstate New York that was kept completely secret and hidden from the outside world, because the curriculum was magic. If Eliot had failed the entrance exam, he would have been sent home, his memory wiped of the experience... but he passed, and accepted his acceptance with no hesitation.
As he moved from under- to upperclassman, Eliot collected himself a rotating harem of sexual partners from among Brakebills' small student body. He also got himself some actual friends, a process which was part chemistry and part design. They were known as the Physical Kids, after the fact that all their specialized magical Disciplines had something to do with manipulating physical elements.
The episode guide ( https://en.wikipedia.org/wiki/The_Magicians_(U.S._TV_series)#Episodes ) gives a good overall summary of events covered in the show. Eliot is shown to be in a very close platonic relationship with Margo, a fellow student in his year. His most significant personal plotline is his relationship with Mike, a Brakebills alumnus who turns out to be under the influence of the big bad (known only to our heroes as "The Beast"). When Mike, under the Beast's control, kills one person and threatens another, it is Eliot who comes across the scene first — and who subsequently strikes Mike down.
↠ Personality: Most people meeting Eliot for the first time will be faced with an extraordinarily thick outer shell of Gives No Fucks. He carries himself with a general loftiness, as though he's operating on a level higher than other people. This persona is deliberate, carefully crafted as a way for Eliot to cut as many ties as possible with his life before Brakebills, and to keep himself generally distant and aloof. In fact, there is much of Eliot that is about appearances: luxury, ceremony, etiquette. He likes having rules about things, particularly himself and the way he acts. It's a way of claiming a sense of control in his life, and a sense of ownership over himself.
As much as he pokes fun at Quentin and Alice for being 'nerds,' there's more than enough evidence to suggest that Eliot isn't as un-nerdy as he'd like others to think. He knows enough about Harry Potter to make an 'Avada Kedavra' joke, for one example, and just before the gang goes to Fillory, he reveals that he remembers more about Plover's books than he's been letting on. While he hasn't been able to totally leave it behind, in a way Eliot would like to forget that part of himself — after all, his phase of escapism into fantasy worlds was wrapped up in his desire to get the hell out of Indiana. The only way it comes out anymore is when he's deep in his cups, or is leaning more goofy than sardonic in his humor.
Through his relationship with Margo, we get to see how Eliot is with someone he considers a true friend. Behind his mask, Eliot is capable of caring deeply and expressing unwavering support: after all of them experience a harrowing vision of the potential future, Eliot's first instinct is to turn to Margo, bring her back down to Earth, and tell her how fabulous she is. He's also quite perceptive: his extensive experience with his own bullshit has given him a keen ability to sniff it out in others, as well as a sense of what's going on beneath someone's surface.
Often, Eliot will still act within the bounds of his persona with Margo, but there's the sense that it's fully understood for the facade it is. Both of them have a certain face that they prefer to present to the world. They make allowances so that they can both be that preferred self to each other.
In addition to being magically talented, Eliot has always been intelligent and fast on his metaphorical feet. He picks up on concepts and adjusts to new situations quickly. It isn't easy to make him look stupid or ill-prepared because even when he comes across something he doesn't understand, he either asks questions or decides it isn't worth his time. It's a side-effect of his conceit never to let himself look stupid.
That being said, he doesn't tend to seek out knowledge when there isn't a pressing reason to. Eliot has a trait commonly found in people who are both brilliant and lazy: he never had to work at being smart, so he doesn't. And Eliot is lazy. Given the opportunity, given nothing to pursue or learn (nothing he deems worthy, anyway), he is perfectly content to lounge around day in and day out, doing little else but drinking and cavorting with his latest conquest. Given the wrong set of circumstances, this side of Eliot could easily destroy him. The truth is he needs a little something, anything, to prop up his work ethic (such as it is) and keep him occupied, or he runs the risk of vaporizing in a cloud of cigarette smoke and ethanol.
This risk has been recently compounded by his relationship with Mike, who was being influenced by the Beast. His betrayal, and the fact that Eliot was the one who had to kill him, dealt a blow to Eliot's psyche that's still a long way from healing.
↠ Powers / Abilities: Eliot was born with a talent for magic the way some people are born with a talent for music or math - he just gets it. While in the world of 'The Magicians' most people have to go through hours of back-breaking tedious study in order to learn any one spell, Eliot can pick them up in a fraction of the time. He may not be the most powerful, and he's not as good as he could be if he felt inclined to apply himself, but he's got aptitude on his side.
Magic in Eliot's world can do almost anything with few exceptions, but there are consequences for misuse. Spells can go wrong or get out of control, either because the magician isn't powerful or practiced enough or because the spell wasn't written properly. Using strong magic in a heightened emotional state is advised against, as it can lead to the user turning into a being of pure energy (and then dying).
It's also worth noting that Battle Magic (that is, spells which are made to be used in combat) takes an especially high level of focus. Eliot in particular has only been able to use it under two circumstances: first when confronting Mike (which would qualify as, as another character put it, a "baby-under-a-car" scenario), and again while under the influence of a spell that removed his emotions (thus allowing him to focus more easily).
As far as non-magical talents go, Eliot is highly intelligent in general, as anyone has to be to pass muster at Brakebills. He's also a walking encyclopedia of booze, particularly esoteric wines and mixology, and he can cook well.
↠ Languages: English (native language). He is not fluent in anything else, but like many educated people, he knows a lot of scattered random phrases from Latinate languages.
↠ Inventory: A very nice set of clothes ( http://www.theworkprint.com/wp-content/uploads/2016/04/NUP_170416_0364.jpg ), a small amount of cash, his cigarette case, and a bottomless flask of whiskey.
↠ Reason for Playing This Character: Eliot is one of my older muses (the journal for my bookverse version of him was made in 2012). I enjoy playing out his self-aware self-destruction, as well as the way he navigates social situations. I'm interested in taking him further down the path he's already on in the City of Sin, seeing how his need to survive balances with his emotional issues, and seeing how being in a world that actively embraces sinful behavior affects him. I had a great time with other characters in Bete Noire while it was around, and I'm excited to play in a similar setting with a lot of the same people again.
↠ What is Your Character's Sin?: Gluttony. While Eliot's had a self-destructive streak for a long time, it's especially true at this point in his life. After Mike's death, he sank down into a spiral of overindulgence in intoxicants of all kinds, particularly alcohol, stimulants, and hallucinogens. He never goes anywhere without his bottomless flask, and he'll take a chance on just about any substance if it promises something new and interesting. He stopped actively hitting rock bottom a while back — now, it's more like he found a cozy nook down there and has settled in for the long haul.
SAMPLES
↠ First Person:
[Here's Eliot, sat at a coffee table with an array of mixing equipment in front of him: a cocktail shaker, an ice bucket, a couple of bottles, an orange and a peeler, a jar of cherries, and a rocks glass. He pops the top off the shaker and starts scooping ice into it.]
The perfect Manhattan. [Naming the steps, then, one by one, as he goes through them:] Two parts whiskey... one part vermouth. A dash of bitters — keep a light touch on those. A nice, solid piece of orange peel... rubbed around the rim of the glass. Shake... [He does, then pours the drink, finally adding two cherries.] ...and serve.
[He picks up the glass, leans back on his couch, and takes a sip. Then, it's down to business.]
The name's Eliot, and I'm here to make myself — available. I can teach you mixology, how to taste the difference between a Bordeaux and a Burgundy, how to match your tie to your trousers to your cufflinks, or make you a mean puttanesca sauce. [A beat, after which he looks directly into the camera.] Generally, anything is open to negotiation.
Daddy needs a new set of dress boots, after all. My other pair's back on Earth. [He takes one more drink, then licks the excess from his lips. Inviting whoever would like to respond to join in.]
↠ Third Person:
Brakebills South was a miserable hellhole in the classic Seventh-Circle-of-Dante sense: a freezing castle in a frozen wasteland, a silent and suffocating tomb where every student was, in their turn, forced to study under the slave-driver Professor Mayakovsky. The forced speechlessness, the oppressive workload, and the stark surroundings managed to wear everyone down in their own special way. Depravity of all kinds became commonplace in the fleeting moments of free time.
It was under these circumstances that Eliot had found himself kneeling on the cold stone floor, forcing his frozen and overworked fingers into the shape of a spell that would undo the wards and unlock Mayakovsky's office. Boredom, desperation, and a growing resentment of the Professor had driven him to actively study the security measures, to work up the proper ways of getting around them.
After all, Mayakovsky had plenty of what was known in the vernacular as 'The Good Shit,' or at least what qualified for it around here. And now, thanks to less than a minute inside the room, Eliot did too.
The label was in Russian. The stuff inside tasted like sour water. It burned twice: first with a freezer-burn in his throat, so cold that he thought his tongue would turn solid, but the second time was warmer, a heat that pooled through him down to his toes. Eliot grimaced as it went down, but underneath that was a sense of satisfaction. Even if the bastard had a dozen more bottles stashed away somewhere, he wouldn't be getting this one back.
Eliot found Margo wandering the halls, looking not like herself at all: limp, oily hair and vacant eyes. He watched the light come back into them as they sat in a secluded corner, passing the bottle back and forth (one of them occasionally snatching it out of the other's hand). It wasn't long until the walls were spinning, and Eliot's brain felt like it'd been turned to soup. He could barely even sit up anymore: he'd fallen sideways into something more like a lounge, propping himself up from the floor with one elbow.
But there was still a quarter of the bottle left. Eliot laughed silently, at nothing at all, adjusted the elbow that was holding him up, and threw back another swallow.
↠ Playing Sample: City of Sin TDM - http://cityofsin-ooc.dreamwidth.org/57295.html?thread=1198031#cmt1198031
↠ Additional Samples: Eliot and Quentin in NY - https://misc-and-other.dreamwidth.org/3306.html. Rated NSFW for kink. More of a book-canon setting rather than the tv show, but Eliot's characterization is the same.
↠ Notes: n/a
