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Nov. 1st, 2013 03:29 pmPLAYER INFORMATION
➤ NAME: Puppy
➤ AGE: I'm 26! bday is 5/5/87 ;)
➤ JOURNAL:![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
velveteenwolf
CHARACTER INFORMATION
➤ CHARACTER NAME: Peter Rumancek
➤ SERIES: Hemlock Grove (Novel)
➤ CHARACTER AGE: 17
➤ REFERENCE: http://en.wikipedia.org/wiki/Hemlock_Grove
➤ CANON POINT: Middle of the chapter A Large Bad Thing; after going to the Willoughby's
➤ SEXUALITY: Canon sexuality is bisexual. He has a girlfriend although their attachments are complex and unbalanced with her far more interested in him than he is in her, and also a very heavy romantic tinged connection to a boy, implied to have had a light sexual component. (The other boy refers to him as “good for a hard-on”.)
➤ PERSONALITY: “...men do become wolves and if you have the privilege to be witness to such a transformation it is the most natural and right thing you have ever seen.”
Peter is a teenage boy with an excessively lax parental influence, no stable home, and he likes it that way. The Rumanceks are different from the demographic, they're poorer, they're Romani (despite being half-Italian), and all of these combine to make them outcasts in the depressed, white bread town of Hemlock Grove. Peter, however, while attuned to the dichotomy of have and have-not, continually sees himself as the wealthy one. He might be a thief (of items too small to really be considered stealing), he might have to scramble for pocket change, but he is rich in life experiences that the small town people with their closed mindedness can never imagine. Also, he's a werewolf, which is about the coolest thing in the world, for your information.
Peter is charming, he's a showman with a long line of useless skills, stage magic tricks and quick fingers to ensnare people's attention, but he is never well-liked, even before the murders. He finds companionship among other outcasts, until rumor and speculation eventually deprive him of that as well. He describes the people he sat with at lunch as “the kids who wore dog collars and misquoted the Existentialists”, and the closest contact he has is a girl that leaves him voice messages that are nothing but breathy moaning. He still never has a friend, a point that is repeated and driven home when he befriends the upir Roman Godfrey, almost against his will.
He abhors emotional connections, doing his best to avoid them like the plague that he considers them. A hard truth is that he has never needed someone as much as they need him. He has a constant fear of being put in a cage. Which is both literal, and figurative. He's a werewolf, and he seems at least passingly aware of hunters, of being locked up, imprisoned. He's scared of other peoples' needs, of having to deal with people in an emotional context, of having people's feelings pressed upon him. This is not just inclusive of the people he has the closest connections with, but almost typifies their interactions – trying to hold him down, while Peter has at least one foot out the door.
He has a very evolved “hierarchy of shit he can do without”. And that amounts to, quite honestly, just about everything that doesn't directly affect him. He is dragged, digging in his heels, to dealing with the vargulf that's killing people, and to emotional attachment to both Roman and Letha. Cousins and pretty much ticking time bombs of privilege who are so far removed from his world that neither of them will ever understand the things he fears. One of his initial reactions to Roman comes in an attempt at glibness to push the other teen away, an admitted discomfort of emotional intimacy and a fear of the other boy's needs that ends with the sentiment that he “wouldn't touch that with your dick”. But, he finds himself caught in a no-win situation. They either become the warriors that Roman so desperately craves, or Peter risks the hunter sniffing at his trail, and faces the rumors about the fact that he's a werewolf. He describes it as “a choice between being fucked in the ass or fucked in the mouth”.
And yet, after the dust settles, the vargulf is gone, Roman asks him how he wasn't scared. Peter's response is that he was terrified, that he couldn't have done it without him. There isn't really one moment that defines when the relationship turns; it's a combination of moments. It's shared cigarettes, and jibes they both toss that around, it's shared dreams and the fact that when Peter pushes him away that Roman keeps coming back no matter how badly he fucks up. Peter might have a foot out the door, but Roman keeps pulling him back. It's something they can't resist, and it's hinted that Peter walks away a lot, given how Roman talks about expecting him to come back again when Peter breaks up with him. It's clear that he really does care about Roman, because at the Mill, he has a realization that the place isn't good for Roman and then he needs to get him out. Of course, things with those two never go quite so simply.
The ties that bind him to Letha are different, but no less complex. Peter might not love Letha, but by the time she dies, he definitely feels something for her. Initially, their interaction is a way to get to her father, who has information that might relate to the vargulf, as well as about Roman's mother Olivia, who Peter is worried about because she's upir. After cutting things off with Roman, Letha pushes herself on him, and when he cites Roman as for why they can't have sex, blithely questions “what Roman has to do with the price of rice in China!”. They have sex, but this isn't what manages to tie her to him. It's moments where she becomes more than the silly girl that talks about angels, such as when she literally throws herself on him when he's getting beaten up by the boys at school to protect him, when she so desperately wants to stop the deputies that are planning to kill him, when she holds his wolf after he fights with the vargulf. He can see that she is full of love and light and life, and as much as Roman, she refuses to let go of the boy that doesn't feel like she does.
And then she's dead and gone, and it rips him apart, destroys his ability to hold onto what stability he'd managed to find, even if his natural inclinations would eventually have driven him from it. He's depressed, he eats less, and his last connection is with a passing dog in a car, sharing a silent howl. Peter idolizes her pregnancy out of a need for a family, a pack that he hasn't had since his uncle died when he was fourteen and losing that, as well as the sweet-but-stupid girl that has glued herself to him ruins him. What wouldn't Peter do for a family?
Persistence wins the day when it comes to Peter, friendship or otherwise; he tries to avoid confrontations where possible, so the right person seems to be able to get under his skin no matter how much he sees attachment as its own sort of cage. Tied into this, is the fact that Peter hates violence. Both in general, but especially when it's directed at him. This isn't just part of his personality, it's also biological. He has “abnormally low levels of adrenal glucocorticoid, indicating that the animal ... is by nature non-aggressive”. However, this doesn't mean he wont fight. He understands necessity, he knows when violence is the only choice. And it might absolutely terrify him, but when the cards are down, he'll be there. If he has to. However, he has little faith in his own propensity toward courage.
But, when things aren't do-or-die, he's mostly an exceptionally poorly behaved teenager. He's a pervert, he listens to people having sex in the bathroom, reads 'tits and motorcycle' magazines in the cafeteria, he drinks as if he doesn't even recognize that he's underage. He seems to have little respect or acknowledgment for the things that public school values as education. Norman describes it as “Peter was a different breed. He was not our neighbor. He did not want the things we wanted.” At the end of the day, Peter is a gypsy, and a werewolf, and he'd see two left shoes as far more useful than any white picket fence.
“You can play Mr. Big Stuff but I've seen you cry your eyes out when Nicolae said the utility guy was Leatherface.”
➤ POWERS: Peter does walk in the skin of a wolf. He's a werewolf. His change seems to occur at sunset rather than when the full moon reaches its apex. The earth calls him by his secret name, and it forces him to change. This is not a pleasant or pretty process. He literally sheds his skin, in a show of blood and gore, with the wolf crawling out from inside of him. He eats the remnants of his own body, and is physically reborn when he shifts back at dawn. The only way to actually kill a werewolf permanently, seems to be to cut off their head. The fangs of a werewolf are said to be of exaggerated size and curvature, and that when the jaws of a werewolf close, there isn't a force on Earth that can escape them.
In human form, he has enhanced senses, but no additional physical prowess. He bruises as easily as anyone else, but any physical injuries do not last past his turn as he literally devours his own body.
The wolf Peter shifts into is midnight black with gold eyes, and is significantly larger than a normal wolf and seems to possess increased physical prowess as well. At the canon point he's from, he can shift against the moon, although it's a no-less grizzly process. Shifting back to human leaves him exhausted most times, and he has about enough energy to crawl back into bed.
He has an exceptionally receptive Swadisthana chakra, which is said to give him access to that “secret, sacred frequency of the universe”. This seems to mostly translate out into a bad feeling, intuition that he perceives as agitation in his balls when something bad is happening / going to happen / has happened, mostly for him personally. Through it, he has a connection to the earth, such as allows him to figure out the site in the park where the girl was murdered. It also allows him to recognize other supernaturals most of the time.
➤ SUITABILITY: I'm not going to lie and say this will be easy on Peter. It won't. Per his canon, there is the implication that being locked in a cage can literally kill him. However, the Dome is expansive, and I think that with developing ties between himself and others that he could definitely end up adjusting. He is definitely in for some rough times as first, however. As far as sex goes, he thinks about it a lot, has already lost his virginity with a girl, and has fooled around with a boy. I am not sure that overt experiments will ever be particularly easy on him, however.
➤ FIRST PERSON EXAMPLE: http://languished.dreamwidth.org/321581.html
➤ THIRD PERSON EXAMPLE: http://languishlogs.dreamwidth.org/147966.html
➤ NAME: Puppy
➤ AGE: I'm 26! bday is 5/5/87 ;)
➤ JOURNAL:
velveteenwolfCHARACTER INFORMATION
➤ CHARACTER NAME: Peter Rumancek
➤ SERIES: Hemlock Grove (Novel)
➤ CHARACTER AGE: 17
➤ REFERENCE: http://en.wikipedia.org/wiki/Hemlock_Grove
➤ CANON POINT: Middle of the chapter A Large Bad Thing; after going to the Willoughby's
➤ SEXUALITY: Canon sexuality is bisexual. He has a girlfriend although their attachments are complex and unbalanced with her far more interested in him than he is in her, and also a very heavy romantic tinged connection to a boy, implied to have had a light sexual component. (The other boy refers to him as “good for a hard-on”.)
➤ PERSONALITY: “...men do become wolves and if you have the privilege to be witness to such a transformation it is the most natural and right thing you have ever seen.”
Peter is a teenage boy with an excessively lax parental influence, no stable home, and he likes it that way. The Rumanceks are different from the demographic, they're poorer, they're Romani (despite being half-Italian), and all of these combine to make them outcasts in the depressed, white bread town of Hemlock Grove. Peter, however, while attuned to the dichotomy of have and have-not, continually sees himself as the wealthy one. He might be a thief (of items too small to really be considered stealing), he might have to scramble for pocket change, but he is rich in life experiences that the small town people with their closed mindedness can never imagine. Also, he's a werewolf, which is about the coolest thing in the world, for your information.
Peter is charming, he's a showman with a long line of useless skills, stage magic tricks and quick fingers to ensnare people's attention, but he is never well-liked, even before the murders. He finds companionship among other outcasts, until rumor and speculation eventually deprive him of that as well. He describes the people he sat with at lunch as “the kids who wore dog collars and misquoted the Existentialists”, and the closest contact he has is a girl that leaves him voice messages that are nothing but breathy moaning. He still never has a friend, a point that is repeated and driven home when he befriends the upir Roman Godfrey, almost against his will.
He abhors emotional connections, doing his best to avoid them like the plague that he considers them. A hard truth is that he has never needed someone as much as they need him. He has a constant fear of being put in a cage. Which is both literal, and figurative. He's a werewolf, and he seems at least passingly aware of hunters, of being locked up, imprisoned. He's scared of other peoples' needs, of having to deal with people in an emotional context, of having people's feelings pressed upon him. This is not just inclusive of the people he has the closest connections with, but almost typifies their interactions – trying to hold him down, while Peter has at least one foot out the door.
He has a very evolved “hierarchy of shit he can do without”. And that amounts to, quite honestly, just about everything that doesn't directly affect him. He is dragged, digging in his heels, to dealing with the vargulf that's killing people, and to emotional attachment to both Roman and Letha. Cousins and pretty much ticking time bombs of privilege who are so far removed from his world that neither of them will ever understand the things he fears. One of his initial reactions to Roman comes in an attempt at glibness to push the other teen away, an admitted discomfort of emotional intimacy and a fear of the other boy's needs that ends with the sentiment that he “wouldn't touch that with your dick”. But, he finds himself caught in a no-win situation. They either become the warriors that Roman so desperately craves, or Peter risks the hunter sniffing at his trail, and faces the rumors about the fact that he's a werewolf. He describes it as “a choice between being fucked in the ass or fucked in the mouth”.
And yet, after the dust settles, the vargulf is gone, Roman asks him how he wasn't scared. Peter's response is that he was terrified, that he couldn't have done it without him. There isn't really one moment that defines when the relationship turns; it's a combination of moments. It's shared cigarettes, and jibes they both toss that around, it's shared dreams and the fact that when Peter pushes him away that Roman keeps coming back no matter how badly he fucks up. Peter might have a foot out the door, but Roman keeps pulling him back. It's something they can't resist, and it's hinted that Peter walks away a lot, given how Roman talks about expecting him to come back again when Peter breaks up with him. It's clear that he really does care about Roman, because at the Mill, he has a realization that the place isn't good for Roman and then he needs to get him out. Of course, things with those two never go quite so simply.
The ties that bind him to Letha are different, but no less complex. Peter might not love Letha, but by the time she dies, he definitely feels something for her. Initially, their interaction is a way to get to her father, who has information that might relate to the vargulf, as well as about Roman's mother Olivia, who Peter is worried about because she's upir. After cutting things off with Roman, Letha pushes herself on him, and when he cites Roman as for why they can't have sex, blithely questions “what Roman has to do with the price of rice in China!”. They have sex, but this isn't what manages to tie her to him. It's moments where she becomes more than the silly girl that talks about angels, such as when she literally throws herself on him when he's getting beaten up by the boys at school to protect him, when she so desperately wants to stop the deputies that are planning to kill him, when she holds his wolf after he fights with the vargulf. He can see that she is full of love and light and life, and as much as Roman, she refuses to let go of the boy that doesn't feel like she does.
And then she's dead and gone, and it rips him apart, destroys his ability to hold onto what stability he'd managed to find, even if his natural inclinations would eventually have driven him from it. He's depressed, he eats less, and his last connection is with a passing dog in a car, sharing a silent howl. Peter idolizes her pregnancy out of a need for a family, a pack that he hasn't had since his uncle died when he was fourteen and losing that, as well as the sweet-but-stupid girl that has glued herself to him ruins him. What wouldn't Peter do for a family?
Persistence wins the day when it comes to Peter, friendship or otherwise; he tries to avoid confrontations where possible, so the right person seems to be able to get under his skin no matter how much he sees attachment as its own sort of cage. Tied into this, is the fact that Peter hates violence. Both in general, but especially when it's directed at him. This isn't just part of his personality, it's also biological. He has “abnormally low levels of adrenal glucocorticoid, indicating that the animal ... is by nature non-aggressive”. However, this doesn't mean he wont fight. He understands necessity, he knows when violence is the only choice. And it might absolutely terrify him, but when the cards are down, he'll be there. If he has to. However, he has little faith in his own propensity toward courage.
But, when things aren't do-or-die, he's mostly an exceptionally poorly behaved teenager. He's a pervert, he listens to people having sex in the bathroom, reads 'tits and motorcycle' magazines in the cafeteria, he drinks as if he doesn't even recognize that he's underage. He seems to have little respect or acknowledgment for the things that public school values as education. Norman describes it as “Peter was a different breed. He was not our neighbor. He did not want the things we wanted.” At the end of the day, Peter is a gypsy, and a werewolf, and he'd see two left shoes as far more useful than any white picket fence.
“You can play Mr. Big Stuff but I've seen you cry your eyes out when Nicolae said the utility guy was Leatherface.”
➤ POWERS: Peter does walk in the skin of a wolf. He's a werewolf. His change seems to occur at sunset rather than when the full moon reaches its apex. The earth calls him by his secret name, and it forces him to change. This is not a pleasant or pretty process. He literally sheds his skin, in a show of blood and gore, with the wolf crawling out from inside of him. He eats the remnants of his own body, and is physically reborn when he shifts back at dawn. The only way to actually kill a werewolf permanently, seems to be to cut off their head. The fangs of a werewolf are said to be of exaggerated size and curvature, and that when the jaws of a werewolf close, there isn't a force on Earth that can escape them.
In human form, he has enhanced senses, but no additional physical prowess. He bruises as easily as anyone else, but any physical injuries do not last past his turn as he literally devours his own body.
The wolf Peter shifts into is midnight black with gold eyes, and is significantly larger than a normal wolf and seems to possess increased physical prowess as well. At the canon point he's from, he can shift against the moon, although it's a no-less grizzly process. Shifting back to human leaves him exhausted most times, and he has about enough energy to crawl back into bed.
He has an exceptionally receptive Swadisthana chakra, which is said to give him access to that “secret, sacred frequency of the universe”. This seems to mostly translate out into a bad feeling, intuition that he perceives as agitation in his balls when something bad is happening / going to happen / has happened, mostly for him personally. Through it, he has a connection to the earth, such as allows him to figure out the site in the park where the girl was murdered. It also allows him to recognize other supernaturals most of the time.
➤ SUITABILITY: I'm not going to lie and say this will be easy on Peter. It won't. Per his canon, there is the implication that being locked in a cage can literally kill him. However, the Dome is expansive, and I think that with developing ties between himself and others that he could definitely end up adjusting. He is definitely in for some rough times as first, however. As far as sex goes, he thinks about it a lot, has already lost his virginity with a girl, and has fooled around with a boy. I am not sure that overt experiments will ever be particularly easy on him, however.
➤ FIRST PERSON EXAMPLE: http://languished.dreamwidth.org/321581.html
➤ THIRD PERSON EXAMPLE: http://languishlogs.dreamwidth.org/147966.html
