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Feb. 28th, 2015 08:48 pmPLAYER
Player name: Ezra
Contact:![[plurk.com profile]](https://plurk.com/favicon.ico)
astralis; lacaille#5211 @ discord
Characters currently in-game: N/A
CHARACTER
Character Name: Charles Eyler
Character Age: 18 (at time of death)
Canon: Hello Charlotte
Canon Point: Midway through the third game, after the death of Q84.
History:
{ cw in this section for mention of abortion and suicide }
For at least a few years of his life, Charles Eyler had a pretty normal childhood. He lived with his mother and father, did well in school (though he didn’t have a particularly active social life), and had a beloved pet cat. Though he remembers his parents being together, they apparently had separate rooms for at least a short time before they split up. After his father left, it turned out that his mother was pregnant with another child, a daughter. And even though they had already split up, he told her to get rid of it-- which she did.
Which is where things really started going downhill.
Though she used to be full of energy, Charles’ mother sunk into a deep depression after the death of her unborn daughter. Eventually, she barely even left her room, let alone the apartment they lived in. Most of the times she left were either for psych appointments or when the ambulance had to be called for her during a breakdown. Because of this, before he’d even entered middle school, Charles was basically taking care of both himself and his mother on a regular basis. It might not have been so bad if she didn’t, in her grief, believe her living child was the daughter she aborted, and talk to him as such.
And because this apparently wasn’t enough for a kid to deal with, it was likely around this time that he started having psychotic episodes, in which his sister (or what she would have maybe looked like if alive), Scarlett, appeared to him as what is possibly the world’s worst tulpa, because it was really just a combination of self-loathing and something like survivor’s guilt given an incorporeal form. In addition, it was probably around this time that he started having delusions and began seeing people (mostly ones he viewed negatively) as hosts for parasites, their faces warped beyond anything “human.”
In middle school, though, Charles finally made a real friend in Henrietta (“Anri”) Warhol-- well, eventually. At first, he helped her out when she was being bullied, and instead of thanking him normally, she was just mean to him for the rest of the year. “I can’t remember when we actually started to get along. It must’ve begun somewhere around the time she accidentally discovered my drawings.” Aside from Anri, Charles also found a friend in a writer online who went by the name “C.” Originally, Charles had started out as a fan of C’s work, but eventually ended up doing illustrations for his story, and the two talked online regularly.
By the time high school had rolled around, things were more or less stable in Charles’ life-- as stable as they could be, anyway. He stayed busy with school (and his plans to become a doctor for his mother’s sake), and his relationship with Anri (she’d suggested the two of them go out, and he just went along with it, even though it wasn’t a serious relationship), and continued to take care of his mother. Online, he continued sharing his art and stories (mostly about his “ideal protagonist,” named Charlotte), and had some form of escape from the more difficult parts of his life.
Not that it stayed that way, of course.
One day, Charles got online to find that C was planning to complete suicide. Almost immediately, he offered to join C, so that he wouldn’t have to be alone. And so, a few days later, he met his online friend for the first and last time, on a rooftop. C, whose real name turned out to be Vincent, talked about his theory-- that when a person dies, their soul becomes the material for a new world, one that’s based off of that person’s emotions and mindset. With a promise to meet in that other world, Vincent stepped off the roof. Paralyzed by fear, Charles did not.
A short time later, Anri mentioned that her family would be moving far away the following month, despite her wanting otherwise. Charles offered for the two of them to run away together. They booked a hotel room for the next day, and when Anri realized that her version of “running away” was a bit more literal than that of Charles, who had helpfully brought enough pills for the both of them, she got understandably upset with him. In her ensuing outburst, he realized that she actually had feelings for him, which he didn’t return, and the two went back to their homes the next day. A month later, Anri moved away, and a year and a half later, the two had fallen out of contact with each other.
After this point, due to a rapidly declining mental state, he began seeing everyone, including his own mother, in the same distorted way. The only face he could still remember clearly was Vincent’s. Having realized (regardless of how accurate it was) that his life was basically going nowhere, he wished that if there were an afterlife, that he wouldn’t be the center of it, before drowning himself in the ocean.
And then he found himself at home.
Sort of. That whole thing about afterlives being made out of the soul data of people who died? Completely true. The afterlife made of Charles Eyler’s soul data was called the House, an odd and depressing structure (of sorts) with 11 floors. The top floor (11F), was basically a surface-level replica of Charles’ own home, and one that he couldn’t actually leave. And inside his mother’s old room was the true god of that realm, Mother.
This Mother was less of a person and more of a mass of organs, similar in appearance to Charles’ deluded version of her. And, as if granting her wish, she “created” the many protagonists of many different stories within the House. Mother created tens and hundreds of Charlottes, all the protagonists of their own stories that took place throughout the rest of the House. These stories were somewhat formulaic, and followed patterns of a heroine that was almost perpetually abused without fighting back, to create sympathy from the audience.
Not only were the characters of his own creation part of the House, but Anri and Vincent as well. Anri was similar to the person that Charles had known, but due to his idealized view of Vincent, not entirely being able to see him as a real person, and the fact that Charles had only known Vincent before he died, all Vincent “vessels” within the House were like blank slates-- all with a death wish. Even Scarlett appeared in the House, as the type of person that Charles had wished his sister would have been, someone with a happy life, who was well-liked and successful.
Based off of a nihilistic worldview and the feelings of someone who could really only connect with people through art and stories, the House reflected that in its inner workings. “Without fiction, without an appealing protagonist, no one would bother staying in the House.” Each of these protagonists had a parasite in their brains, similar to the real Toxoplasma gondii parasite. It kept them almost docile, and made them incredibly trusting of others, which worked with the “stories” of which they were a part. (In addition, they also had an ability granted by Mother; they were all allowed one “wish,” which could be anything at all-- destroying the world, saving the world-- but with one catch. After using that power, that Charlotte would die immediately after, and her story would end.)
However, every 20th Charlotte created was defective, missing the parasite. Most of these had other defects, except for one, known as Charlotte Unit Q84. Rather than go along with the story she was given, once she realized the truth of her existence (as just part of a story, given fake memories as “backstory,” and born to be mistreated), she rebelled against it. She began killing off other students at school, picking on the characters who were supposed to be nice to her, and basically was just making a total mess of her story. She couldn’t even be permanently dealt with (outside of using Mother’s power) because she had a near infinite number of replacement bodies that would get used if she were to be killed. After all, the protagonist needs to survive until the very end.
She was Charles’ favorite. Though he couldn’t leave 11F, he could take over other vessels (mainly nameless students, though he has used Vincent’s vessel quite a few times in the hopes of keeping him safe [it never actually helped]) and visit the stories that way-- so he got to spend quite a bit of time with Q84. They basically picked on each other, but it was the closest thing to a genuine friendship either of them had in the House.
However, difficulties started to crop up. The Scarlett Eyler in this story, manipulated into believing that she had to ruin Q84’s story in order to stop her murder spree, began attacking and killing Charlottes, and broke the fourth wall to show the player of the games the events that led up to the creation of the House (which is basically everything else in this section, leading up to Charles’ death). In revenge, Q84 used her wish to kill Scarlett. She succeeded, but her story ended shortly after, with Charles keeping her company as she died.
Personality:
Most people probably have some idea of what they expect gods to be like-- or, at least, what they should be like. Charles Eyler is probably nothing that most people would expect a god to be.
A deeply negative person, he generally doesn't think well of other people, and tends to think even worse of himself. In the House, a place shaped entirely by his thoughts and "soul," the stories are populated by faceless characters, nobodies who either have no personality or are legitimately unpleasant. Aside from the main characters (Charlotte and those close to her), no one really matters, or they exist to make Charlotte's life worse. Even Charles himself is basically a non-entity in these stories, his only way to communicate limited to taking over the bodies of these minor characters. Even though he's the god of the House (as its creator), he isn't even the one in charge. Responsibility, importance, having a presence at all-- they're things he doesn't consider himself to deserve. He believes himself to have no worth to society, which shows in his world.
Contributing to this was the fact that his mother, heartbroken over her unborn daughter, spoke to him as if he were Scarlett, not even acknowledging the fact that her living child was her son. Not only did he see himself as worthless to society, but also as a child who shouldn't have been born. He's spent most of his life wishing he was dead, and even in the afterlife, learned through experience that he was unable to kill himself there. Basically, he's kind of miserable deep down!
But that's at the core of his personality and not what other people are going to get out of him, like ever.
When alive, Charles spent much of his life trying to be what he assumed other people would want him to be, rather than actually say what he thinks or do what he wants. With most people, he's never really been honest, and admits that he never expressed his opinions, but just went along with everything, saying what other people would want to hear just so they would want him in their life. As a result of this, he's generally polite and pleasant, seemingly willing to help people with their problems and support them. It's how he ended up in a relationship he didn't care about, just by going with it rather than making his own decision either way. He was a bit more honest with people he connected with through art and stories (mainly Anri and Vincent), and would consider them his only real friends. In cases like that, he's able to be a bit more open with his feelings, even if it's to make fun of people.
In the House, he has even less of a social life than he did before, but he manages. By taking over minor characters to use as "vessels," he's able to visit the various Charlottes. With most of them, he's friendly, acting as kind of a guardian (or a father, since he does somewhat see Charlotte as his daughter) or a helpful almost-friend. Charles is more genuine in his dealings with Q84; the two have more of a vitriolic friendship. He's more than willing to make fun of her, call her out, and basically monologue at her about her role in her story or how she's making things more difficult for herself. Of course, it's not like he's completely rude to people he legitimately cares for; just that he has a bit more freedom with what he says and does in general.
However, when Q84 was dying in her story, though he still kind of made fun of her as she was dying, he still made it obvious to her that he actually cared about her-- and after her death, became more clearly upset about it, and was willing to do just about anything to get her back.
When it comes to heavier topics, Charles tends to avoid talking about his own feelings, or minimizes them so that no one really knows when he's upset about something. He talks about difficult things almost like they're very distant from him; avoiding talking about his actual emotions on the subject. Basically, if he actually asks for help, it's probably for something disaster-level. Though when he can, and when he doesn't actually need to deal with it, he's definitely prone to trying to escape-- whether that's metaphorical (escaping into fiction) or literal (actually running away and hiding to privately melt down). In the end, no one really did know the real depth of his issues while he was alive, and the only ones who did end up knowing were the Scarlett Eyler in the House (since she always had memories of what actually happened) and Q84 (who also viewed those memories). He just deals with things alone, not wanting to explain or to pile those difficulties onto others.
However, even when he has gotten close to people, he's usually ended up pushing them further away. Emotionally, he avoids getting close to people or relying on them, and physically-- well. Along with the delusions of seeing many people as hosts for parasites, Charles is also mysophobic, and avoids touching people and objects as a result (and wears gloves pretty much all the time). Even in the House, he views the faceless minor characters as being contaminated; though he felt that if he became a god, he would "cleanse this disease-stricken world of all contamination," the world based on his soul data is just as unclean as the one in which he was alive.
In general, he always seems to feel a lack of control over his life, which is reflected in the House. Because he'd felt trapped by his mother (into "wanting" to study to become a doctor just to help her, despite that not being his choice; having to constantly check in on her; deciding not to live any longer than she does), she became the true god of the House, and the floor modeled after his home when he was alive is a place that he is physically unable to leave. His hallucination of Scarlett Eyler, which he later acknowledged as his own negativity, became the reason he was miserable-- she was the one who "forced" him to engage in self-harming behaviors as punishment for not doing things well enough. In the House, he is limited to the role of an Observer, only able to watch over the stories without the ability to change anything. Even his own death, he saw as an act of giving up, more than a willful choice.
As with most people, that whole spiel from Shrek about onions and layers applies here too. On the outside, he seems calm, polite, and friendly-- maybe a bit more mature than others his age, but that happens when you had to grow up fast and when you've been 18 for probably at least a few decades. Beneath that, he's more easy to talk to, but also more vitriolic. He'll be sarcastic and probably make fun of people, but it's also a lot easier to have deep conversations with him. And then beneath that is basically just everything that makes the House an unpleasant, unfriendly, and unforgiving place with a bleak society-- the person whose world felt like that when he was alive. Sure, maybe that's still the case to some extent, but at the very least, he can accept that. And as the great Samuel Beckett once wrote, "that's how it is on this bitch of an earth."
Inventory: Nothing but the clothes he's wearing.
Abilities: Within the House, Charles has the ability to use vessels within the stories, which basically means taking over an NPC body (since his own physical self in the House is confined to 11F). No matter what, though, he's basically limited to observing the stories in the House, and can't really alter events outside of what a normal person could do.
Aside from that, he's a decently talented writer and artist, and is considerably more self-sufficient/better at taking care of himself and others than the average 18-year-old, due to his family situation.
Flaws:
SAMPLES
Action Log Sample: Here is a top-level. If you'd prefer more to go on, here's a thread with more comments.
Player name: Ezra
Contact:
Characters currently in-game: N/A
CHARACTER
Character Name: Charles Eyler
Character Age: 18 (at time of death)
Canon: Hello Charlotte
Canon Point: Midway through the third game, after the death of Q84.
History:
{ cw in this section for mention of abortion and suicide }
For at least a few years of his life, Charles Eyler had a pretty normal childhood. He lived with his mother and father, did well in school (though he didn’t have a particularly active social life), and had a beloved pet cat. Though he remembers his parents being together, they apparently had separate rooms for at least a short time before they split up. After his father left, it turned out that his mother was pregnant with another child, a daughter. And even though they had already split up, he told her to get rid of it-- which she did.
Which is where things really started going downhill.
Though she used to be full of energy, Charles’ mother sunk into a deep depression after the death of her unborn daughter. Eventually, she barely even left her room, let alone the apartment they lived in. Most of the times she left were either for psych appointments or when the ambulance had to be called for her during a breakdown. Because of this, before he’d even entered middle school, Charles was basically taking care of both himself and his mother on a regular basis. It might not have been so bad if she didn’t, in her grief, believe her living child was the daughter she aborted, and talk to him as such.
And because this apparently wasn’t enough for a kid to deal with, it was likely around this time that he started having psychotic episodes, in which his sister (or what she would have maybe looked like if alive), Scarlett, appeared to him as what is possibly the world’s worst tulpa, because it was really just a combination of self-loathing and something like survivor’s guilt given an incorporeal form. In addition, it was probably around this time that he started having delusions and began seeing people (mostly ones he viewed negatively) as hosts for parasites, their faces warped beyond anything “human.”
In middle school, though, Charles finally made a real friend in Henrietta (“Anri”) Warhol-- well, eventually. At first, he helped her out when she was being bullied, and instead of thanking him normally, she was just mean to him for the rest of the year. “I can’t remember when we actually started to get along. It must’ve begun somewhere around the time she accidentally discovered my drawings.” Aside from Anri, Charles also found a friend in a writer online who went by the name “C.” Originally, Charles had started out as a fan of C’s work, but eventually ended up doing illustrations for his story, and the two talked online regularly.
By the time high school had rolled around, things were more or less stable in Charles’ life-- as stable as they could be, anyway. He stayed busy with school (and his plans to become a doctor for his mother’s sake), and his relationship with Anri (she’d suggested the two of them go out, and he just went along with it, even though it wasn’t a serious relationship), and continued to take care of his mother. Online, he continued sharing his art and stories (mostly about his “ideal protagonist,” named Charlotte), and had some form of escape from the more difficult parts of his life.
Not that it stayed that way, of course.
One day, Charles got online to find that C was planning to complete suicide. Almost immediately, he offered to join C, so that he wouldn’t have to be alone. And so, a few days later, he met his online friend for the first and last time, on a rooftop. C, whose real name turned out to be Vincent, talked about his theory-- that when a person dies, their soul becomes the material for a new world, one that’s based off of that person’s emotions and mindset. With a promise to meet in that other world, Vincent stepped off the roof. Paralyzed by fear, Charles did not.
A short time later, Anri mentioned that her family would be moving far away the following month, despite her wanting otherwise. Charles offered for the two of them to run away together. They booked a hotel room for the next day, and when Anri realized that her version of “running away” was a bit more literal than that of Charles, who had helpfully brought enough pills for the both of them, she got understandably upset with him. In her ensuing outburst, he realized that she actually had feelings for him, which he didn’t return, and the two went back to their homes the next day. A month later, Anri moved away, and a year and a half later, the two had fallen out of contact with each other.
After this point, due to a rapidly declining mental state, he began seeing everyone, including his own mother, in the same distorted way. The only face he could still remember clearly was Vincent’s. Having realized (regardless of how accurate it was) that his life was basically going nowhere, he wished that if there were an afterlife, that he wouldn’t be the center of it, before drowning himself in the ocean.
And then he found himself at home.
Sort of. That whole thing about afterlives being made out of the soul data of people who died? Completely true. The afterlife made of Charles Eyler’s soul data was called the House, an odd and depressing structure (of sorts) with 11 floors. The top floor (11F), was basically a surface-level replica of Charles’ own home, and one that he couldn’t actually leave. And inside his mother’s old room was the true god of that realm, Mother.
This Mother was less of a person and more of a mass of organs, similar in appearance to Charles’ deluded version of her. And, as if granting her wish, she “created” the many protagonists of many different stories within the House. Mother created tens and hundreds of Charlottes, all the protagonists of their own stories that took place throughout the rest of the House. These stories were somewhat formulaic, and followed patterns of a heroine that was almost perpetually abused without fighting back, to create sympathy from the audience.
Not only were the characters of his own creation part of the House, but Anri and Vincent as well. Anri was similar to the person that Charles had known, but due to his idealized view of Vincent, not entirely being able to see him as a real person, and the fact that Charles had only known Vincent before he died, all Vincent “vessels” within the House were like blank slates-- all with a death wish. Even Scarlett appeared in the House, as the type of person that Charles had wished his sister would have been, someone with a happy life, who was well-liked and successful.
Based off of a nihilistic worldview and the feelings of someone who could really only connect with people through art and stories, the House reflected that in its inner workings. “Without fiction, without an appealing protagonist, no one would bother staying in the House.” Each of these protagonists had a parasite in their brains, similar to the real Toxoplasma gondii parasite. It kept them almost docile, and made them incredibly trusting of others, which worked with the “stories” of which they were a part. (In addition, they also had an ability granted by Mother; they were all allowed one “wish,” which could be anything at all-- destroying the world, saving the world-- but with one catch. After using that power, that Charlotte would die immediately after, and her story would end.)
However, every 20th Charlotte created was defective, missing the parasite. Most of these had other defects, except for one, known as Charlotte Unit Q84. Rather than go along with the story she was given, once she realized the truth of her existence (as just part of a story, given fake memories as “backstory,” and born to be mistreated), she rebelled against it. She began killing off other students at school, picking on the characters who were supposed to be nice to her, and basically was just making a total mess of her story. She couldn’t even be permanently dealt with (outside of using Mother’s power) because she had a near infinite number of replacement bodies that would get used if she were to be killed. After all, the protagonist needs to survive until the very end.
She was Charles’ favorite. Though he couldn’t leave 11F, he could take over other vessels (mainly nameless students, though he has used Vincent’s vessel quite a few times in the hopes of keeping him safe [it never actually helped]) and visit the stories that way-- so he got to spend quite a bit of time with Q84. They basically picked on each other, but it was the closest thing to a genuine friendship either of them had in the House.
However, difficulties started to crop up. The Scarlett Eyler in this story, manipulated into believing that she had to ruin Q84’s story in order to stop her murder spree, began attacking and killing Charlottes, and broke the fourth wall to show the player of the games the events that led up to the creation of the House (which is basically everything else in this section, leading up to Charles’ death). In revenge, Q84 used her wish to kill Scarlett. She succeeded, but her story ended shortly after, with Charles keeping her company as she died.
Personality:
Most people probably have some idea of what they expect gods to be like-- or, at least, what they should be like. Charles Eyler is probably nothing that most people would expect a god to be.
A deeply negative person, he generally doesn't think well of other people, and tends to think even worse of himself. In the House, a place shaped entirely by his thoughts and "soul," the stories are populated by faceless characters, nobodies who either have no personality or are legitimately unpleasant. Aside from the main characters (Charlotte and those close to her), no one really matters, or they exist to make Charlotte's life worse. Even Charles himself is basically a non-entity in these stories, his only way to communicate limited to taking over the bodies of these minor characters. Even though he's the god of the House (as its creator), he isn't even the one in charge. Responsibility, importance, having a presence at all-- they're things he doesn't consider himself to deserve. He believes himself to have no worth to society, which shows in his world.
Contributing to this was the fact that his mother, heartbroken over her unborn daughter, spoke to him as if he were Scarlett, not even acknowledging the fact that her living child was her son. Not only did he see himself as worthless to society, but also as a child who shouldn't have been born. He's spent most of his life wishing he was dead, and even in the afterlife, learned through experience that he was unable to kill himself there. Basically, he's kind of miserable deep down!
But that's at the core of his personality and not what other people are going to get out of him, like ever.
When alive, Charles spent much of his life trying to be what he assumed other people would want him to be, rather than actually say what he thinks or do what he wants. With most people, he's never really been honest, and admits that he never expressed his opinions, but just went along with everything, saying what other people would want to hear just so they would want him in their life. As a result of this, he's generally polite and pleasant, seemingly willing to help people with their problems and support them. It's how he ended up in a relationship he didn't care about, just by going with it rather than making his own decision either way. He was a bit more honest with people he connected with through art and stories (mainly Anri and Vincent), and would consider them his only real friends. In cases like that, he's able to be a bit more open with his feelings, even if it's to make fun of people.
In the House, he has even less of a social life than he did before, but he manages. By taking over minor characters to use as "vessels," he's able to visit the various Charlottes. With most of them, he's friendly, acting as kind of a guardian (or a father, since he does somewhat see Charlotte as his daughter) or a helpful almost-friend. Charles is more genuine in his dealings with Q84; the two have more of a vitriolic friendship. He's more than willing to make fun of her, call her out, and basically monologue at her about her role in her story or how she's making things more difficult for herself. Of course, it's not like he's completely rude to people he legitimately cares for; just that he has a bit more freedom with what he says and does in general.
However, when Q84 was dying in her story, though he still kind of made fun of her as she was dying, he still made it obvious to her that he actually cared about her-- and after her death, became more clearly upset about it, and was willing to do just about anything to get her back.
When it comes to heavier topics, Charles tends to avoid talking about his own feelings, or minimizes them so that no one really knows when he's upset about something. He talks about difficult things almost like they're very distant from him; avoiding talking about his actual emotions on the subject. Basically, if he actually asks for help, it's probably for something disaster-level. Though when he can, and when he doesn't actually need to deal with it, he's definitely prone to trying to escape-- whether that's metaphorical (escaping into fiction) or literal (actually running away and hiding to privately melt down). In the end, no one really did know the real depth of his issues while he was alive, and the only ones who did end up knowing were the Scarlett Eyler in the House (since she always had memories of what actually happened) and Q84 (who also viewed those memories). He just deals with things alone, not wanting to explain or to pile those difficulties onto others.
However, even when he has gotten close to people, he's usually ended up pushing them further away. Emotionally, he avoids getting close to people or relying on them, and physically-- well. Along with the delusions of seeing many people as hosts for parasites, Charles is also mysophobic, and avoids touching people and objects as a result (and wears gloves pretty much all the time). Even in the House, he views the faceless minor characters as being contaminated; though he felt that if he became a god, he would "cleanse this disease-stricken world of all contamination," the world based on his soul data is just as unclean as the one in which he was alive.
In general, he always seems to feel a lack of control over his life, which is reflected in the House. Because he'd felt trapped by his mother (into "wanting" to study to become a doctor just to help her, despite that not being his choice; having to constantly check in on her; deciding not to live any longer than she does), she became the true god of the House, and the floor modeled after his home when he was alive is a place that he is physically unable to leave. His hallucination of Scarlett Eyler, which he later acknowledged as his own negativity, became the reason he was miserable-- she was the one who "forced" him to engage in self-harming behaviors as punishment for not doing things well enough. In the House, he is limited to the role of an Observer, only able to watch over the stories without the ability to change anything. Even his own death, he saw as an act of giving up, more than a willful choice.
As with most people, that whole spiel from Shrek about onions and layers applies here too. On the outside, he seems calm, polite, and friendly-- maybe a bit more mature than others his age, but that happens when you had to grow up fast and when you've been 18 for probably at least a few decades. Beneath that, he's more easy to talk to, but also more vitriolic. He'll be sarcastic and probably make fun of people, but it's also a lot easier to have deep conversations with him. And then beneath that is basically just everything that makes the House an unpleasant, unfriendly, and unforgiving place with a bleak society-- the person whose world felt like that when he was alive. Sure, maybe that's still the case to some extent, but at the very least, he can accept that. And as the great Samuel Beckett once wrote, "that's how it is on this bitch of an earth."
Inventory: Nothing but the clothes he's wearing.
Abilities: Within the House, Charles has the ability to use vessels within the stories, which basically means taking over an NPC body (since his own physical self in the House is confined to 11F). No matter what, though, he's basically limited to observing the stories in the House, and can't really alter events outside of what a normal person could do.
Aside from that, he's a decently talented writer and artist, and is considerably more self-sufficient/better at taking care of himself and others than the average 18-year-old, due to his family situation.
Flaws:
- Blackmail: Back when he and Anri were still together, he would often help her out with gathering dirt on people-- taking pictures and stuff like that to use against them later.
- Schadenfreude: Maybe it’s normal, but that still doesn’t mean it’s good. Then again, while enjoying internet slapfights may not be so bad, it’s probably not the nicest thing to spend almost every day bothering his only self-aware creation about how much of a mess her story is, even when she’s dying in his arms.
- Negativity: More of a general item, but this ranges from considering other people parasitic beings to being (inwardly) hostile towards other people and their problems just because he’s dealing with his own stuff.
- The House: Is it rude to make crappy puzzles part of your world, and make your heroine solve math problems to open a door? Maybe. Is it a sin to create an entire world that basically causes everyone in it to suffer over and over again in different versions of a story? ...eh, we’ll leave that one to the gods in charge.
SAMPLES
Action Log Sample: Here is a top-level. If you'd prefer more to go on, here's a thread with more comments.
