Anakha (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
bluerosedreams) wrote2015-11-13 10:12 pm
bluerosedreams) wrote2015-11-13 10:12 pm
(no subject)
Player's Name: Ana
Contact info: anakha@plurk, anakhathesilver @ AIM
DW: bluerosedreams
Character: Mastermind (“Miku” as an alias)
Canon: Night ∞ Series
Version: Light novel
Canon Point: Post-ending
Age: Technically not even a day, but also hundreds of days and maybe even a few years old? It’ll be explained below. Apparent age is mid-teens.
Gender: Female
History: Night ∞ is a light novel series written by Hitoshizuku and translated by vgperson, based on songs also by Hitoshizuku.
Things open up with Miku, a young star-struck girl who wants nothing more than to be an actress. Accepted in to the Burlet troupe, a group of actors who all perform plays written by Burlet, a playright who is famous for his desire for perfection and his ability to weave almost magical tales and his ability to capture “eternity in a moment,” she has become the lead role in a recently discovered lost play thought to have been burned in a fire that took Burlet’s life. The specific play is an attempt at a revival, to give life to the theater. A single play over three nights. However, Miku becomes quickly nervous due to the tales of bad things happening if a play of Burlet’s doesn’t go perfectly.
The morning of the first part, she meets with the other actors: Luka, Meiko, Kaito, twins Rin and Len, Gack and Meg. The former five dedicate their lives to the playhouse, while Gack owns a vineyard and Meg works on the side, too. (…Appwriter asks you to please keep in mind that the original language is Japanese and so the names can be odd.) Each person has a specific role in the play: Meiko and Kaito as the master and mistress of the house, Luka as their adopted daughter (the lady), Rin and Len as twin dolls, Meg as a maid, and Gack as the butler. Miku is to play a villager who gets lost in the woods one night, seeking shelter at their home. With a guest to entertain, the bored family and workers throw a party, inviting the villager girl to dance the night away with them.
The play goes off without a hitch until near the end of the first act, where Miku accidentally smacks her hand into the clock. This breaks the prop, causing one of the hands to fly off and imbed itself into the stage a ways away. Covering for the mistake and making it seem natural, the first night concluded on an eerie note—just like planned, but made even eerier with the last-second revision to cover for the mistake. Fearing being reprimanded, she is instead embraced and everyone reacts with relief, then heads off to celebrate a successful first night.
However, suddenly, Miku awakens in a bed that is unfamiliar to her, in a house unfamiliar to her. There, she discovers that she’s somehow been pulled into the world of the play, where the people are only vaguely aware and the play has stopped due to a missing page. So the search begins, looking all over the huge mansion. Miku is always with another person, and she often narrowly escapes death—falling swords from statues, falling down stairs, poisoned tea. Always she’s saved at the last moment by another person. At one point, she ends up in the vast library, where Len tells her of how there was another actress who died tragically—to cover for the fat she died.
Eventually, she is left to her own devices on accident. There, she finds a blank page in her pocket, and tries to write on it with wine. She finds out that it doesn’t work, and is left unsure what to do. Still, having found the missing page, she goes to return it to the others. There, she overhears them talking about how they will revive “her” while the truth is kept secret from only one, as well as how they’ll switch out the “real” and the “fake” in the encore of this round. Assuming that they mean her, as opposed to the world, thinking that they intend to revive the dead “ninth” person. Lost to her own betrayed feelings, she rushes in to grab the clock hands. The others all try to stop her, but fail, and she escapes into the hallways. However, in the scuffle, she had obtained a bottle of wine and lost the page.
Eventually, they corner her, and demand the page and the clock hands. She refuses, instead taking Rin captive to give a wine bottle in “exchange” for the page. Kaito, knowing it’s likely a trap, decides to hand over the page, but at the last second is assaulted with the sharp blade of the clock hand. Miku grabs both the page and the wine and runs past everyone who is now more worried about Kaito. She then barricades herself in the secret room, which is full of coffins—something she discovered earlier.
Deciding to learn the secret of the coffins, she finds them all locked—and that the clock hands fit as keys. Opening them, she discovers her own body in the first coffin. Suddenly, it all comes back to her—what happened.
On the night after the play, Miku had discovered a single envelope lying on the ground addressed to her. Within, an anonymous letter. It told her that the script was forged by the rest of the troupe and she would take the heat as the newest actress if they were discovered. Coming up with a quick and alternative method to save the theater, which is to sell her precious bracelet which belonged to her grandfather, Burlet himself, Miku goes to confront the others. However, having partied and begun drinking, their minds are addled and they react poorly. Seeing the letter as evidence, they try to wrestle it from her, only to chase her throughout the entire playhouse and into the front hall.
There, disaster strikes. Having cornered her at the top of the stairs, Kaito approaches, calmly asking her to hand over the letter. However, she slashes at him with the clock hand she’d kept to have repaired. In doing so, however, the momentum sends her careening backwards down the steps—where she falls with the clock hand firmly embedded in her chest. Screams ring out as they all realize she’s dead, and simultaneously their wish echoes.
It’s then they realize they’re not in the theater, and instead are in a mansion. Discovering a book nearby titled after the play they forged, the find that a long and winding letter was left for them… By someone simply calling themselves Mastermind. However, they quickly all recognize the dialogue quirks as that of Burlet himself, and that he’s offered them a chance.
Their wish resonated and he brought them into the play, where they can reset the night over and over until they get it right. Actors who portray dolls become dolls, actors who portray humans will become human. And they can go on each night until they grow weary of it—they have an out by alerting Miku of her status as a dead woman, which will destabilize the world—or they get their desired ending. However, the world will work against them—seeking to end Miku’s life in any way possible.
After digesting this information, they seven form a plan. They realize Burlet is not angry with them for doing this, but more their hubris as in their celebration they had been talking about forging more scripts to get by. Together, they will all pretend to be their actual roles in the play to trick Miku, as well as afford them an opportunity to move freely and without question. They also hide the paper that will decide the ending on Miku herself, decide that they will use wine and the clockhands to write it, and that the page they tear out to give them an excuse to keep Miku busy will be hidden in the coffins. With this in place, they begin the first night—aware that every single night will be recorded as a single book in the library.
Realizing how much they have been through, as they had tirelessly been through thousands of cycles, Miku now knows the only other ninth person was this mysterious Mastermind Burlet. She also becomes aware of the alternate cycles in which she became paranoid by their actions and slaughtered them all, triggering a “bad end night” and restarting the cycle.
Knowing they won’t do anything that would endanger her, but wanting nothing more than to save them all even if it means herself and fearing they’re doomed to repeat the night into eternity, Miku makes a decision. Knowing that wine is too thin to write with, she instead slits her own wrist and writes a simple ending herself while the others beat down the locked door. In it, she stabs herself and a kitchen fire starts, forcing them all to leave and return to reality even though they would want another cycle.
They burst through the door to her apologetic smile as she lowers the clock hand on herself. A fire starts in the kitchen, just like she wrote, and they rush to her. Gack takes her into his arms as they rush to leave due to the fire—while the mysterious Mastermind applauds them as they leave.
Skip ahead a few years. We find that they erased their mistake, and instead of lashing out in fear at Miku, they listened to her. Together they all worked together, revealing the fraud of the play and offering to reimburse the tickets. However, most of the audience doesn’t want a refund and instead they allow them to keep the money to save the theater, while Kaito and Miku auction off Burlet’s collected items to keep the theater afloat. They decide then to continue doing their own thing alongside their beloved Burlet pieces.
However, one of their number had left. Gack is no longer part of the troupe. They receive a bottle of wine from a man they know simply as the silk hat baron, who thanks them for a marvelous time and performance. It is then they realize that Gack, who had simply gone missing including that his vineyard was cleared out overnight, was in fact Burlet himself—somehow still alive despite having supposedly died a hundred years ago.
In this AU, due to some discrepancies and contradictions in canon (namely Gack Burlet being in two places at once somehow as well as the fact that someone is present at every cycle’s end while Gack is a corpse in some of them), I have split the role of Mastermind into a separate character to make sense of the canon. Given the promotional songs use Hatsune Miku as the voice for Mastermind, she takes on Miku’s appearance—due to Miku being at the center of the world of the play.
Mastermind is otherwise functionally the same, resetting and working things behind the scene, applauding each night, and then seeing them all off at the end while she is left behind in the burning world of the play—no longer needed with the wish fulfilled. …Hence my comment on wonky age. Still, Mastermind is commented on as resetting and putting everything back in its place.
Personality: Mastermind is, first and foremost, dedicated to the wish she is to fulfill. It is the purpose for which she exists, and she fills that role almost mechanically—although she does also take enjoyment out of it, even applauding the bad ends and commenting on how magnificent they are. Still, that doesn’t mean she doesn’t want it to end. She is the product of the wish, after all—a creature born out of necessity for the rules to work. A doll that was given the role of Mastermind and thus functioning within the rules herself. Which means rules are very, very important to her.
Death and suffering amuse her, judging by her reaction to the bad nights where she still wildly applauds, although the suffering does get to her (she is depicted as crying while applauding on a few occasions). She’s a child at heart, and really only knows the world of the play and what memories would be necessary to maintain everyone and mimic them should she need to puppet them. This means she’s at least somewhat naturally curious, evidenced by the multiple endings amusing her.
In the end, she is a child. She has a childish way of understanding things, she’s immature in how she views things, and she’s extremely black-and-white minded. Things can only be either-or. Mastermind can only think in terms of the play—and she is, currently, exceptionally bitter, as well, about her fate. Left to burn, unneeded and unwanted without even a thank you for her work. Still, she doesn’t hold an outward grudge.
She internalizes, perhaps a lot like Miku herself. Mastermind is, after all, loosely based on her, even within the world of the play. And acting talents aside, she’s a child whose only purpose was to live for others. Everyone else’s happiness matters more than hers, even if she begrudges this outlook and wishes she could be more selfish. It is for these reasons she will delight in their suffering while also mourning it. A girl of contradictions and complications due to her “birth.”
She also, however, is incredibly naïve as a result. She’s seen the best of people—humans so willing to sacrifice themselves for the sake of another they went through hundreds, maybe thousands, of nights of resets. Which means years spent in an endless loop, aware of each one so they could do better the next time. To this end, Mastermind herself desires to do her best and puts her all into everything—lest she let down those in her care. And she is very servile-minded. She exists to fulfill a purpose, and without a purpose she sees herself as useless. If she is not filling one, she is filled with dread and worry about what she should be doing.
She is far too trusting due to her outside influences in her brief and sheltered life. Everyone worked for each other, even while keeping secrets. It was all for the greater good, and that resonated with her. Why wouldn’t it? She’s easily influenced by those who seem kind, given that’s her only experience. If you act nice, you must be trustworthy.
Fears: Fire, being left behind, being unneeded. Being alone. Having no purpose.
Weaknesses: Really, her entire knowledge base was instilled based on the memories of Burlet with a bit of Miku’s dying wishes. She really doesn’t have much of an idea of how things work outside of play terms, and she’s incredibly naïve and overly trusting. As well, she’s still ultimately a doll given a role. Whether she will retain the human body or become a moving doll is up to you guys—either would be interesting.
Mundane Strengths/Abilities: She’s a writer like Burlet, and an actor as well. She can act with the best of them, and is in the end a doll. Otherwise, she’s not got much to her name
Sensitivity/Magical Ability: She’s a living doll granted purpose by the rules of a world, and powerful in that realm because of it. However, her own power only extends to the world of the play, and otherwise she’s just a living doll.
Supply List: Clothes resembling Miku’s play outfit, a blank notebook for writing in, and a pen
Game Transfers: N/A
Sample RP post: Enjoy
Contact info: anakha@plurk, anakhathesilver @ AIM
DW: bluerosedreams
Character: Mastermind (“Miku” as an alias)
Canon: Night ∞ Series
Version: Light novel
Canon Point: Post-ending
Age: Technically not even a day, but also hundreds of days and maybe even a few years old? It’ll be explained below. Apparent age is mid-teens.
Gender: Female
History: Night ∞ is a light novel series written by Hitoshizuku and translated by vgperson, based on songs also by Hitoshizuku.
Things open up with Miku, a young star-struck girl who wants nothing more than to be an actress. Accepted in to the Burlet troupe, a group of actors who all perform plays written by Burlet, a playright who is famous for his desire for perfection and his ability to weave almost magical tales and his ability to capture “eternity in a moment,” she has become the lead role in a recently discovered lost play thought to have been burned in a fire that took Burlet’s life. The specific play is an attempt at a revival, to give life to the theater. A single play over three nights. However, Miku becomes quickly nervous due to the tales of bad things happening if a play of Burlet’s doesn’t go perfectly.
The morning of the first part, she meets with the other actors: Luka, Meiko, Kaito, twins Rin and Len, Gack and Meg. The former five dedicate their lives to the playhouse, while Gack owns a vineyard and Meg works on the side, too. (…Appwriter asks you to please keep in mind that the original language is Japanese and so the names can be odd.) Each person has a specific role in the play: Meiko and Kaito as the master and mistress of the house, Luka as their adopted daughter (the lady), Rin and Len as twin dolls, Meg as a maid, and Gack as the butler. Miku is to play a villager who gets lost in the woods one night, seeking shelter at their home. With a guest to entertain, the bored family and workers throw a party, inviting the villager girl to dance the night away with them.
The play goes off without a hitch until near the end of the first act, where Miku accidentally smacks her hand into the clock. This breaks the prop, causing one of the hands to fly off and imbed itself into the stage a ways away. Covering for the mistake and making it seem natural, the first night concluded on an eerie note—just like planned, but made even eerier with the last-second revision to cover for the mistake. Fearing being reprimanded, she is instead embraced and everyone reacts with relief, then heads off to celebrate a successful first night.
However, suddenly, Miku awakens in a bed that is unfamiliar to her, in a house unfamiliar to her. There, she discovers that she’s somehow been pulled into the world of the play, where the people are only vaguely aware and the play has stopped due to a missing page. So the search begins, looking all over the huge mansion. Miku is always with another person, and she often narrowly escapes death—falling swords from statues, falling down stairs, poisoned tea. Always she’s saved at the last moment by another person. At one point, she ends up in the vast library, where Len tells her of how there was another actress who died tragically—to cover for the fat she died.
Eventually, she is left to her own devices on accident. There, she finds a blank page in her pocket, and tries to write on it with wine. She finds out that it doesn’t work, and is left unsure what to do. Still, having found the missing page, she goes to return it to the others. There, she overhears them talking about how they will revive “her” while the truth is kept secret from only one, as well as how they’ll switch out the “real” and the “fake” in the encore of this round. Assuming that they mean her, as opposed to the world, thinking that they intend to revive the dead “ninth” person. Lost to her own betrayed feelings, she rushes in to grab the clock hands. The others all try to stop her, but fail, and she escapes into the hallways. However, in the scuffle, she had obtained a bottle of wine and lost the page.
Eventually, they corner her, and demand the page and the clock hands. She refuses, instead taking Rin captive to give a wine bottle in “exchange” for the page. Kaito, knowing it’s likely a trap, decides to hand over the page, but at the last second is assaulted with the sharp blade of the clock hand. Miku grabs both the page and the wine and runs past everyone who is now more worried about Kaito. She then barricades herself in the secret room, which is full of coffins—something she discovered earlier.
Deciding to learn the secret of the coffins, she finds them all locked—and that the clock hands fit as keys. Opening them, she discovers her own body in the first coffin. Suddenly, it all comes back to her—what happened.
On the night after the play, Miku had discovered a single envelope lying on the ground addressed to her. Within, an anonymous letter. It told her that the script was forged by the rest of the troupe and she would take the heat as the newest actress if they were discovered. Coming up with a quick and alternative method to save the theater, which is to sell her precious bracelet which belonged to her grandfather, Burlet himself, Miku goes to confront the others. However, having partied and begun drinking, their minds are addled and they react poorly. Seeing the letter as evidence, they try to wrestle it from her, only to chase her throughout the entire playhouse and into the front hall.
There, disaster strikes. Having cornered her at the top of the stairs, Kaito approaches, calmly asking her to hand over the letter. However, she slashes at him with the clock hand she’d kept to have repaired. In doing so, however, the momentum sends her careening backwards down the steps—where she falls with the clock hand firmly embedded in her chest. Screams ring out as they all realize she’s dead, and simultaneously their wish echoes.
It’s then they realize they’re not in the theater, and instead are in a mansion. Discovering a book nearby titled after the play they forged, the find that a long and winding letter was left for them… By someone simply calling themselves Mastermind. However, they quickly all recognize the dialogue quirks as that of Burlet himself, and that he’s offered them a chance.
Their wish resonated and he brought them into the play, where they can reset the night over and over until they get it right. Actors who portray dolls become dolls, actors who portray humans will become human. And they can go on each night until they grow weary of it—they have an out by alerting Miku of her status as a dead woman, which will destabilize the world—or they get their desired ending. However, the world will work against them—seeking to end Miku’s life in any way possible.
After digesting this information, they seven form a plan. They realize Burlet is not angry with them for doing this, but more their hubris as in their celebration they had been talking about forging more scripts to get by. Together, they will all pretend to be their actual roles in the play to trick Miku, as well as afford them an opportunity to move freely and without question. They also hide the paper that will decide the ending on Miku herself, decide that they will use wine and the clockhands to write it, and that the page they tear out to give them an excuse to keep Miku busy will be hidden in the coffins. With this in place, they begin the first night—aware that every single night will be recorded as a single book in the library.
Realizing how much they have been through, as they had tirelessly been through thousands of cycles, Miku now knows the only other ninth person was this mysterious Mastermind Burlet. She also becomes aware of the alternate cycles in which she became paranoid by their actions and slaughtered them all, triggering a “bad end night” and restarting the cycle.
Knowing they won’t do anything that would endanger her, but wanting nothing more than to save them all even if it means herself and fearing they’re doomed to repeat the night into eternity, Miku makes a decision. Knowing that wine is too thin to write with, she instead slits her own wrist and writes a simple ending herself while the others beat down the locked door. In it, she stabs herself and a kitchen fire starts, forcing them all to leave and return to reality even though they would want another cycle.
They burst through the door to her apologetic smile as she lowers the clock hand on herself. A fire starts in the kitchen, just like she wrote, and they rush to her. Gack takes her into his arms as they rush to leave due to the fire—while the mysterious Mastermind applauds them as they leave.
Skip ahead a few years. We find that they erased their mistake, and instead of lashing out in fear at Miku, they listened to her. Together they all worked together, revealing the fraud of the play and offering to reimburse the tickets. However, most of the audience doesn’t want a refund and instead they allow them to keep the money to save the theater, while Kaito and Miku auction off Burlet’s collected items to keep the theater afloat. They decide then to continue doing their own thing alongside their beloved Burlet pieces.
However, one of their number had left. Gack is no longer part of the troupe. They receive a bottle of wine from a man they know simply as the silk hat baron, who thanks them for a marvelous time and performance. It is then they realize that Gack, who had simply gone missing including that his vineyard was cleared out overnight, was in fact Burlet himself—somehow still alive despite having supposedly died a hundred years ago.
In this AU, due to some discrepancies and contradictions in canon (namely Gack Burlet being in two places at once somehow as well as the fact that someone is present at every cycle’s end while Gack is a corpse in some of them), I have split the role of Mastermind into a separate character to make sense of the canon. Given the promotional songs use Hatsune Miku as the voice for Mastermind, she takes on Miku’s appearance—due to Miku being at the center of the world of the play.
Mastermind is otherwise functionally the same, resetting and working things behind the scene, applauding each night, and then seeing them all off at the end while she is left behind in the burning world of the play—no longer needed with the wish fulfilled. …Hence my comment on wonky age. Still, Mastermind is commented on as resetting and putting everything back in its place.
Personality: Mastermind is, first and foremost, dedicated to the wish she is to fulfill. It is the purpose for which she exists, and she fills that role almost mechanically—although she does also take enjoyment out of it, even applauding the bad ends and commenting on how magnificent they are. Still, that doesn’t mean she doesn’t want it to end. She is the product of the wish, after all—a creature born out of necessity for the rules to work. A doll that was given the role of Mastermind and thus functioning within the rules herself. Which means rules are very, very important to her.
Death and suffering amuse her, judging by her reaction to the bad nights where she still wildly applauds, although the suffering does get to her (she is depicted as crying while applauding on a few occasions). She’s a child at heart, and really only knows the world of the play and what memories would be necessary to maintain everyone and mimic them should she need to puppet them. This means she’s at least somewhat naturally curious, evidenced by the multiple endings amusing her.
In the end, she is a child. She has a childish way of understanding things, she’s immature in how she views things, and she’s extremely black-and-white minded. Things can only be either-or. Mastermind can only think in terms of the play—and she is, currently, exceptionally bitter, as well, about her fate. Left to burn, unneeded and unwanted without even a thank you for her work. Still, she doesn’t hold an outward grudge.
She internalizes, perhaps a lot like Miku herself. Mastermind is, after all, loosely based on her, even within the world of the play. And acting talents aside, she’s a child whose only purpose was to live for others. Everyone else’s happiness matters more than hers, even if she begrudges this outlook and wishes she could be more selfish. It is for these reasons she will delight in their suffering while also mourning it. A girl of contradictions and complications due to her “birth.”
She also, however, is incredibly naïve as a result. She’s seen the best of people—humans so willing to sacrifice themselves for the sake of another they went through hundreds, maybe thousands, of nights of resets. Which means years spent in an endless loop, aware of each one so they could do better the next time. To this end, Mastermind herself desires to do her best and puts her all into everything—lest she let down those in her care. And she is very servile-minded. She exists to fulfill a purpose, and without a purpose she sees herself as useless. If she is not filling one, she is filled with dread and worry about what she should be doing.
She is far too trusting due to her outside influences in her brief and sheltered life. Everyone worked for each other, even while keeping secrets. It was all for the greater good, and that resonated with her. Why wouldn’t it? She’s easily influenced by those who seem kind, given that’s her only experience. If you act nice, you must be trustworthy.
Fears: Fire, being left behind, being unneeded. Being alone. Having no purpose.
Weaknesses: Really, her entire knowledge base was instilled based on the memories of Burlet with a bit of Miku’s dying wishes. She really doesn’t have much of an idea of how things work outside of play terms, and she’s incredibly naïve and overly trusting. As well, she’s still ultimately a doll given a role. Whether she will retain the human body or become a moving doll is up to you guys—either would be interesting.
Mundane Strengths/Abilities: She’s a writer like Burlet, and an actor as well. She can act with the best of them, and is in the end a doll. Otherwise, she’s not got much to her name
Sensitivity/Magical Ability: She’s a living doll granted purpose by the rules of a world, and powerful in that realm because of it. However, her own power only extends to the world of the play, and otherwise she’s just a living doll.
Supply List: Clothes resembling Miku’s play outfit, a blank notebook for writing in, and a pen
Game Transfers: N/A
Sample RP post: Enjoy