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[velveteenwolf]

Player Info

Name: Puppy
Age: 27
Contact: puppiesandrazors @ Plurk / lotuspromises @ AIM
Characters Already in Teleios: None!
Reserve: http://teleios-mods.dreamwidth.org/1551.html?thread=703247#cmt703247

Character Basics:

Character Name: Peter Rumancek
Journal: velveteenwolf
Age: 18
Fandom: Hemlock Grove
Canon Point: When he realizes Letha is dead + game CR
Debt:

Class A: 5 years
Murder: 3 counts. Not exactly in the literal sense, but at the very least he holds himself accountable for what happens to both Christina and Letha. And he does murder his cat.
Betrayal: 2 count. When he breaks up with Roman and getting involved with Letha.
Class B: 3,064 years 6 months
Assault: 6 counts. He gets into a fight with Jackson in Poly, and in canon with Christina and the bullies. I can't imagine that's the only time he's been forced into a fight.
Theft: 6,120 counts. He's shown to shoplift as a way of life, and is very much implied to have learned how from a very young age. Estimated number.
Burglary/Breaking and Entering: 3 counts. The cemetery, the dead girl's house, and the Mill.
Class C: 218 years, 8 months
Abandonment: 2 Counts (Christina and Roman)
Animal Abuse: 1 Count (His cat)
Attempted murder: 1 Count (Christina)
Bribery: 2 Counts (Destiny – once with chocolates, once with Tequila)
Failure to accept responsibility: 23 Counts
Fleeing the Scene of a Crime: 3 Counts
Giving up on a friend: 1 Count
Purposefully Ignoring Those in Need: 13 Counts
Substance abuse: 306 counts
Traumatizing your Loved Ones: 5 Counts
Unnatural Resurrection: 2 Counts

List crimes you’ve created for your character here.

Desecration of a Grave and/or Corpse: 2 Counts
Auto-cannibalism: 75 Counts
Underage alcoholism: 2,190 Counts
GRAND TOTAL: 3,288 years 2 months

Canon Character Section:

History: http://en.wikipedia.org/wiki/Hemlock_Grove

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 things off between them. 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 guardedly cautious about. After cutting things off with Roman, Letha more or less pushes herself on him and 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.

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. He has little faith in his own propensity toward courage, however.

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 reads dorky comics and makes fun of Twilight, and he drinks as if he doesn't even recognize that he's underage. He also 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/Abilities:
Peter walks in the skin of a wolf. He's a werewolf. On the full moon, 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. He's also been shown to be able to share dreams with certain people.

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.


Appearance:
Here. Except his hair has grown out; just past his shoulders and usually in a ponytail.

CR AU

Game You’re Transferring CR from: polychromatic CR Chart

How has your character changed from their canon self? The short version is that he's better adjusted than he was at his canon point. He's still a bit weird about relationships, but he has slowly worked out a relationship with Roman, to the point where he's admitted that he loves him to Stiles and Lydia, although not to Roman himself. He does, however, manage to show it in actions. He has several friends that he's slowly learned to confide in; most notable being Derek, Lydia and Stiles. He still thinks feelings are kind of bullshit, but he doesn't entirely run away from them anymore.

Are they gaining any abilities from their time in game? Did the game setting take something from them?

Nope~

Samples:

Actionspam Sample:

here

Prose Sample:

here