i am figuring out which parts of my personality are mine

lookbook. lingerie section nsfw.

2022-07-12T00:46:25Z

CODE BY

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open rp.

2022-04-11T23:48:43Z

( meme overflow, rp prompts, etc. )

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manon towers. penthouse apartment.

2021-05-08T06:51:35Z

Gwenaëlle has purchased a penthouse apartment in muted, modern style; open plan with a nursery (a loft play area with a mesh floor is currently functioning as storage), office and guest room. There is a piano in the formal dining room and she does expect her father will use it. The stairs on the rooftop deck lead up to a pool.

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cyrene. yes, her dad is her phone background.

2020-09-28T09:47:37Z

—

10:55 am

CODE BY

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aefenglom. inbox. feat gwen's defunct smartphone.

2019-09-30T01:32:46Z

—

10:55 am

CODE BY

user name | gioia

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hmd.

2019-09-30T01:11:14Z

hmd

have any questions or concerns about how i'm writing gwen, or would prefer not to engage with her? comments are screened.

also available on:
@keanuleaves.plurk
libbitha#8828

code by tessisamess

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application | aefenglom | cw: substance abuse, suicide attempts, untreated mental illness.

2019-09-20T00:01:29Z

Player Information
Name: Libby
Age: 31
Contact: keanuleaves / libbitybibbit#8828
Other Characters: Previously played Petrana de Lamorraine.

Character Information
Name: Gwenaëlle Wynne-York
Canon: Original
Canon Point: Having left Koschei's realm.
Age: 26 going on 27.

History:

Born in Calais, 6th of December, 1992. Parents Emeric 'Emery' Wynne-York (composer, concert pianist, confirmed trainwreck) & Annegret 'Anne' Marquering (it girl with a chronic illness). She's a year older than Marcus Rothschild, her godfather's nephew and not officially her half-brother. Anne relocates to Paris when Gwen is two, marrying Francois Sauvageon, and maintains primary custody until Gwen is six.

Custody is renegotiated as Anne's health deteriorates. Emeric sells his ancestral family estate (to a cousin, who is furious that an adopted son had inherited it to sell in the first place, and at market value) and relocates just outside Florence, Italy, taking Gwen with him at the end of 1998.

In 1999, Gwen is uprooted again during the fallout of her father's suicide attempt. For several years, her time is split between school terms in Italy with a governess and revolving door of relatives, and term breaks living in Russia nearby the private hospital where he's treated throughout his recovery. His illness and treatment are not public knowledge.

They return full time to Florence shortly before she leaves for Marymount, a boarding school outside London, on the understanding that that chapter has been closed and will not be reopened or discussed. She develops a life-long aversion to discussion of mental illness in general and the prospect of her own in particular.

At fourteen to Gwen's fifteen, in lieu of a paternity test, Marcus Rothschild pretends for several months to have an intense infatuation with Gwen that leads to their respective immediate families scrambling to keep them separated. Gwen refers to this as 'the time my brother Skywalkered me', and does not find it as funny as he does.

In 2009, Emeric is briefly married during a summer holiday to Hasibe Ozcelik, better known as Norea Serhati, an adult film actress making the crossover into mainstream work. The marriage is annulled (for reasons of having been too inebriated to legally consent) after three months; Gwen and Hasibe become close during their time together, and all remain on good terms. This year she and Emeric are contacted by the Sewards, British ex-patriates in Massachusetts who are her father's birth parents, who seek to reconnect and allude vaguely to family information they'd like to share. Emeric refuses to engage, and forbids it when Gwen is invited to visit them.

Christmas 2009 is strained, and stands out as the only year Gwen's extended family of Emeric's closest and strangest friends do not join them in Italy for any part of the festive season. Her godmother, Prisca Beauchamp, does join them for the new year.

In lieu of returning home after Marymount, after subsequently enrolling at Guildhall (with a principal study in the cello, a later application to joint principal with cello and vocals having been declined over doubts that she'll be able to handle the additional workload), Gwen lives with her godfather, Septimus Beauchamp, in Chelsea. At 19 she spends a summer in Switzerland and six weeks at Institut Villa Pierrefeu specifically being 'finished'.

Barely Legal—a collection of poems written between her eighteenth and nineteenth birthdays revolving around her own sex, sexuality, sensuality and all the sometimes unpleasant, sometimes boring and frequently uncomfortably frank details that make up those things—is completed during this time. Some of the things depicted in it are technically crimes. It is released December of 2013, after her twenty-first birthday, by an independent publisher.

At 21, Gwen bails her younger brother out of a gambling debt behind his parents' back for the first time.

She subsequently signs a contact with her former stepmother's production company and publishing house for her future works. She takes up aerial silks as a hobby, and briefly dates one of Hasibe's close friends (and colleagues, a director she's worked with) Wesley Lode, which nets her stint on the front page of the Daily Mail and ends badly.

In 2015, Gwen is abducted, and discovers the world and she herself are not what she thought they were at all. She discovers her own magical abilities freeing herself from the situation, and Hasibe's by connection: she had been abducted due to her public connection to a suspected satanic being. The truth is both simpler and more complicated.

She spends the next several years "finding herself": intense and thorough study of the supernatural through whatever means necessary. She experiments with her own abilities and with what impacts her how; she seeks out more knowledgeable people, indiscriminately interested both in her own lineage and the wider context she now understands herself to exist in. She begins a correspondence with her uncle, Gervase Seward.

There's a close call when she breaks into the separatist fae realm her grandfather is beholden to and nearly forfeits her right to leave through ignorance of custom and the king's inclination (Koschei, not his real name). Ælfræd, who she had been following, smooths over the gaffe and deposits her in Boston with the Sewards to be taught a thing or two. Her embrace of magic increasingly sloughs off what was human about her, and there's an adjustment period required.

Mostly she finds that she's kind of a cunt, which she already knew, and goes home to figure out how this is all going to work.

Personality:

Having her around is a lot like keeping a temperamental cat; she's tactile, inquisitive, affectionate, and inclined to think that the people she's closest to are mobile furniture, the way she emotionally isolates herself often resulting in her seeming almost incongruously affection-starved when she reaches out or responds physically, unusually for someone who is surrounded by very affectionate people. (She also enjoys napping in the sun and attempting to adorable her way out of it when she's just done something she knows she probably shouldn't have, which her terrible little face is more or less designed for; the fey are very feline creatures, in both charming and less flattering ways, and Gwenaëlle at her brattiest is a good example of both.) She can be both coldly manipulative and ruthlessly mercenary, her usual position in social circles at the right side of a given Queen Bee allowing her to get away with more at the side of someone who grabs attention in a way she doesn't, but as a general rule her attempts to manage the people around her are at least well-intentioned. Not always, and even when they are she's not necessarily making good decisions about how to go about it, but she's a bit more amoral than immoral; she acts out of self-interest that simply expands to include the people she cares about, and she can have a terrifying lack of empathy for people she doesn't.

Driven by individual loyalty before anything else, she's just as susceptible to being guided to better behaviour by valuing the good opinion of someone with a real sense of decency as she is being enabled into more destructive paths by the opposite: without outside influence, she's essentially chaotic neutral.

She navigates her life with an artful gift for convincing people that they already have her measure, that they know exactly what she is—granting her a reprieve from the scrutiny, giving her a bit of freedom in which to be a bit more complicated. She's as capable of casual acts of unfathomable kindness as she is petty, spiteful cruelty, but dislikes being closely examined for either. Her nature is inhuman, and so is the way her mind works: she's impulse-driven in pursuit of gratification, be it intellectual, social, sexual. She likes to present herself as being very pragmatic, and in some ways this is true—but her driving force is often just wondering what will happen if she does this and a lack of self-preservation instinct (to the point of being, from time to time, passively suicidal), which is more than a little at odds with the practical nature she tries to project having. She is frequently engaged in unhealthy rationalizations with an ability to justify almost anything she wants to do and ignore her better judgment if she can't.

She's a charismatic hedonist who isn't actually much of a people-person - a theatrical introvert who gets weary of other people's company very easily, but clutches them jealously when she does want their attention. She can seem or be irrational, lashing out when she feels backed into a corner and then turning on a dime as her mood shifts—she experiences emotions more intensely than the human baseline norm and finds this difficult to contend with when living in a human environment where it's noticeably abnormal and her rapid-fire emotional rollercoastering is something she's aware is typically pathologized. While in her this generally isn't symptomatic of anything except her species, she does suffer from an undiagnosed depressive disorder (and, frankly, probably PTSD) that she experiences a great deal of shame in and has never sought or accepted help or acknowledgement for. She conceals this at the expense of her closest relationships, particularly with her father, who she considers her responsibility and therefore someone who requires her to be stable.

Her investment in people-pleasing has less to do with pleasing people than it does to do with having people pleased with her; her insecurities surrounding her illness and her worth drive her often to push herself to find ways of becoming indispensable, to prove that she's valuable and necessary, and to find proof of her value in places she shouldn't. (Like sexual relationships with much older intellectuals, or finding someone who likes her bad behaviour and mutually enabling each other into more.) This leads easily down paths she should take more care with—being rewarded for her worst impulses, for instance, is a kind of validation that isn't going to lead to anything good, but she wants to be wanted, to be important, to have worth she can quantify and hold up in her hands as proof she's not nothing. She doesn't feel confident trusting that someone will be there for her if she isn't worth being there for, and struggles with how to define that worth.

Abilities & Skills:

influence

right now

charisma

conscious

glamour

this

water

As a result of her nature, the fact that Gwenaëlle studied music is the laziest thing on earth; she can't not be good at this. Struggling to keep up with her course was a result of depressive episodes, stress and a dubious work ethic (she underestimated how much she can't coast on talent, good job), because it is simply her nature to be good at this - it's otherworldly, and her father's success as a musician has a lot to do with the intense experience that is witnessing him play. Gwenaëlle doesn't intend to go on as a performer; she chose to go into something that she knows she's good at because trying and potentially failing at something more challenging is a frightening possibility. sensitivity

tell her

elemental magic

Gwenaëlle's magic is primarily water-based, and primarily fresh-water based; enchantments and spells that she can create are bound to water and concepts thereof - applying water metaphors to things she wants to achieve can help her achieve them, but her magic is still developing and unsteady and she can't do a lot of very impressive things with the exception of being able to travel via water-sources, as long as she knows where she's going. She can dive into a lake and emerge in a river halfway across the world, much the way her ancestor Aelfraed tends to get around. weakness: iron

Being part-human, Gwenaëlle is not as susceptible to this as the true fae - but she can be bound with hand-forged iron, which is a) incredibly painful and b) liable to scar if left against her skin! Wounds inflicted by an iron weapon heal sluggishly and invariably scar, and are more likely to kill her.weakness: cold-blooded

Gwenaëlle's body temperature is slightly lower than a human's should be; she can superficially warm up with exposure to heat, but generally tends to be noticeably a little cooler. The reason this is listed as a weakness is because she spent an amount of time in and out of doctors' offices as a child being tested for circulatory disorders - Emery eventually decided that since it had never hurt him and it didn't seem to be hurting her, fuck it, and let her be. weakness: water

The lack of it literally saps her will to live. If kept away from a fresh water source for a prolonged period, Gwenaëlle will become melancholic and listless, uninterested in the world around her and mentally checking out. It won't actually kill her, but her mental state will get worse and not better until the situation is righted; she will typically find herself drawn to water sources of her own accord, and it tends to be a matter of how difficult it is to get there. weakness: vampires

The fae are delicious - specifically, their blood has a narcotic, intoxicating effect that can be (but is not necessarily) addictive. A full blooded faerie would put a vampire on their ass (and also probably be a lot of hassle in the process), while someone like Gwenaëlle has a lessened impact - however, fae blood also functions as a kind of mystical roofie, reversing the typical expectation that a bite 'marks' someone, in this case, drinking a faerie's blood allows that particular faerie's magic to create their own bond with the vampire (allowing them to subvert a vampire's natural resistance to their influence, and giving them a reciprocal emotional link that also functions as a kind of homing beacon, as well as leaving a kind of mark of claim visible to other fae and those sensitive to their magic). Given they have to risk being murdered by a talking corpse to achieve this, it's not that appealing, as a general rule. weakness: chemicals

generally

Gwen spoke French as a first language and is rediscovering it, speaks English, Italian and Russian fluently, and can sort of follow a slow conversation in German at a child's level. She practises aerial silks and yoga, runs several times a week, is an accomplished musician (preferring the harp or cello, but comfortable with the piano, violin and her voice), and is experienced in coordinating and hosting large charity events as well as the smooth running of a large estate and its finances. She is clever and resourceful, but accustomed to having resources at her disposal.

Inventory/Companions:
inventory:
What she was wearing: This dress, this cardigan, these shoes, this diamond anklet, OR: a small fortune in She Thinks She Was Dressed Casually, Thanks. I didn't forget underwear, she wasn't wearing any.
Her bag, containing: cigarettes (hand-rolled in an engraved silver case, and a second packet of Gauloises blondes), four half-empty lip-balms, a half-empty bottle of Valentina by Valentino, a mostly full bottle of Que sais-je? by Patou, her wallet (UK driver's license, cash, credit cards, a childhood photo of herself and her father), a notebook with fountain pen tucked into it, her smartphone and tablet (in matching cases), B&O sakura pink wireless earphones, a Glacce black obsidian water bottle (filled with water), an engraved lighter that matches the cigarette case, house and car keys, a hotel key-card, nail-clippers, a tangle teezer, a comb, roughly eighteen loose black hair-pins, several hair-ties, an assortment of different kinds of hair-clips, a velvet headband, only one diamond earring, a pair of sunglasses in their case, a green silk & gold chantilly lace babydoll and shorts set balled up in the bottom of the bag, a flask with her initials engraved on the bottom (filled with vodka), ticket stubs for a performance of Agatha Christie's The Mousetrap, a copy of Les Épaves, several business cards (not hers), a Skyn selection sampler box of non-latex condoms (opened), mints, a wrapped lollipop and an unopened packet of dog treats.

companion: Putin "Putinka" Onaritz is a massive beast-mode guard dog, half vlcak and half ovcharka and looking suspiciously like a wolf fucked a bear. He has a harness, collar and leash which were probably custom-made, is microchipped, insured, and has contact information not for Gwen but for her father's gentleman on his tag, the reverse side of which has an elaborate calligraphy 'P'.

Choice: Merrow (rainbow blanket octopus)
Reason: Gwen is nonhuman on arrival; she's a rhinemaiden, a river nymph, fae of the old school kind that is not ought to be fucked with. Of the different monster-types, merrow is the most similar to her - and therefore suits her the best - while also being something that she'll find exquisitely annoying as she's spent several years at this point complaining about being mistaken for a mermaid.

Sample:
Gwen @ the Aef TDM.
Gwen bullies a mage into helping her by threatening to die in his house.
Backstory snapshots; second-person flashbacks written for a memory-share event.

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trouvaille @ 2019-06-14T14:36:00

2019-06-14T02:37:06Z

( android au )

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flashbacks. (written for a memory share event.)

2019-01-30T01:30:53Z

(2007.)

At fourteen to your fifteen, Marcus is already taller than you - awkward limbs too long for himself, all knees and elbows, but nevertheless (aggravatingly) taller than you are and prone to doing things like leaning his elbow on your shoulder, which at least puts his stomach within easy jabbing range. So far as you can tell, fourteen year old boys lack any and all redeeming features.

“I can't fucking believe you,” you say, betrayed by a tone of voice that indicates clearly you can, actually, and are not even very surprised. “I don’t know why you needed more proof we’re siblings than the fact I put up with you in the first place. ”

“Well, if it had played out differently, and I was wrong....”

You can feel something like a smile trying to happen, incredulous; you bolster your exasperation, and say: “I was going to give you one of these,” gesturing with your cigarette, “but if you finish that sentence I'm just going to put this one out in your eye.”

Marcus laughs and slings one of his stupid arms around your shoulder and you add, “Now I'm most offended you think I'd ever date someone who doodled my name all over his schoolbooks. Or a ten year old, which is what you are.”

“I'm a catch.”

“You aren't,” you say, but you hand him the cigarette. And you laugh, when he chokes, hit him on the back while he coughs and then let him have another, sitting together with your feet hanging over the edge of the balcony outside your bedroom. You watch your uncles unload presents from the car so small down there that they probably can't see you being a bad influence. You can't hear what they're saying, but you can imagine - the same things they say every year - and you missed them all so much while you were at school. Soon the last stragglers will arrive and the proper drinking will begin in earnest, and there'll be an argument, and by boxing day no one will remember what it had been, anyway - that's what family is. What your family is.

This bunch of fuckwits, trying their best.

“Merry Christmas,” you say, leaning against his side.

Marcus says, “Are you feeling alright?”

You think about pushing him off the balcony, but not seriously.

(2014.)

The snatch of poem on his skin is in your handwriting, slightly raised on healing flesh among pieces of older, less to-you-significant ink; your words, written haphazardly on his arm a couple of days ago before he took that trip (there's a couple of French short film distributors he wanted to meet with, see if SkinDeep won't have some legs after the festival circuit), so he must have had it done while he was out of the country, which is just fucking like him, isn't it.

“What d'you reckon, babe?” he prompts you, again, and you finds your voice from somewhere very far away,

“Oh, um,” fumble it, a breath and then another, tuck your hair behind your ears and resist the fleeting impulse to pull the sheet higher around yourself; feeling exposed and annoyed about feeling it, about the feeling being provoked at all, about literally everything that's happening right now, especially the way Wesley is looking up at you. Cocksure and pleased with himself, certain that he will have pleased you, too.

The gleam of his smile reflects back to you like the light of an oncoming train.

You hear yourself say, “It's great,” and don't examine how unwieldy and wrong the words feel in your mouth, or the uncomfortable feeling that's settled in the pit of your stomach and won't dislodge. He's got so many tattoos, this is just one more - and it's a nice gesture, isn’t it? He cares about you. He thinks you're talented. He thought something you wrote was beautiful enough to commit it to his skin for the rest of his life, the only tattoo on him that his twin brother doesn't also have, that's-

That's what everyone wants, isn't it, permanence. That's what you want. Getting mad about it would be crazy and unreasonable and you're not those things, so you can't be. Being crazy and unreasonable is something you do with adolescent boyfriends that you never had, and you're like, nearly twenty-one and rolling with the grown ups now. He introduces you to people when he takes you to parties and he makes plans that include you and if they're still just his plans but you’re there now it’s not as if you have any reason to think, looking around, that that’s not just sort of how this works.

“It's great,” you repeat, let him kiss you into smiling, into sighing.

(2015.)

You come to in the backseat of a car; wrists bound behind your back, arms aching, one shoe ... somewhere, which is not on your foot, so this is already going thrillingly, whatever the fuck this is. Last you remember, you were at a bar -

which is not exactly unusual

- and you'd declined the drink, paid for your own. Much good that appears to have done you, head still swimming with whatever it had been that definitely wasn't just gin, because you know what a hangover feels like and this isn't that. And you don't normally have those tied up in the back of moving - moving - vehicles. On roads that have mostly sky visible from what you can see, not the high buildings you're used to. With strangers who drug girls in bars.

“Do you have any idea-” your voice sounds so shrill, even to your own ears. “You stop this fucking car right now.”

Terror makes command taste strange in your mouth, but stranger still: the car jolts to a stop and you slide, colliding painfully with the back of the front seats and the gearbox between them, a sound shoved out of you that you don't like. You like none of this, but you're an opportunist at heart and the car has stopped.

You swallow. Roll. Feel your broken shoe under your back on the floor of the car, where it will have left a bruise, later.

“Let me out,” you say, experimental. You can tell he's moving, but you can't see at this angle any more and it's slow, so you try again, decisive as a current: “You are going to come here and let me go.”

The car door slams. For what feels like entirely too long, you stare at the ceiling and you're pretty sure you're going to die- when he hauls you out, you're certain, but the knife cuts through your bonds and not your skin and he steadies you, one bare foot and one high heel, and when you look up at him (tall, but everyone's taller than you, a face you don't recognise, an expression that you do: as bemused by what's happening as you are) -

“I want an apology,” you say, gathering the tattered shreds of your dignity about yourself, reaching for the familiar and wrapping it around you like a shawl. “I want my purse back!” The hysterical edge doesn't sound like you, you think, some awful cunt has made you into a frightened thing you don't know and you hate it, you hate him-

“I'm sorry,” he says, digging in the front seat for your purse; “I'm sorry, I'm a cunt.”

“Fuck off,” you mutter, your head swimming, and then he does, with the car keys.

You look down the long stretch of empty road in the other direction. You take off your shoe, and start walking. Maybe when you get somewhere with a phone, some of this will make any sense at all.

(2016.)

Once, your godfather told his brother that if an idea made him laugh for a full minute, it was absolutely not to be acted upon. You wonder if nervous laughter is as bad, because-

because this is definitely a bad idea.

For starters, it's like, what? Breaking and entering? Invasion? It can't be invasion, you're not a foreign power, you're just foreign and have - powers - Jesus Christ every single part of this is stupid. You're wearing a bikini to break into a quote unquote realm, where you expect to find- you don't even fucking know. Answers. The ancient thing who won't take your calls. This is where he came from, this is where a part of you comes from, so it's not even like, a crime, you're just going

you stop short of thinking 'home to your people' because this is getting the fuck out of hand.

At the edge of the water, you kneel down with your sealed bag; it's a bit late to worry about whether or not you packed enough because it's not as if you can open it again on this side, but everything gets catalogued regardless: clothes, shoes, a fistful of jewelry in case you need to pay your way with something, your phone (is there cell service in fae realms? will your camera record anything? are you ever coming back?), food and water and some of the research materials that have got you this far. A smiling photo of Gervase and Ælfræd, the latter alien even in a picture, impatient, gazing past the camera.

No one wants to answer your questions.

Fine.

You'll find out for yourself. You secure the bag to your hip, and dive- think magic thoughts, you tell yourself, and laugh underwater, but it's getting easier every time you do it to drift from the water into the Water, to kick powerfully and swim deep and feel it when you've come free of the constraints of-

A hand closes around your arm, and pulls.

(2017.)

The roman numerals on your watch are completely indecipherable at this hour and after how many glasses of wine you didn't say no to earlier, but your phone-screen lit up in great big letters informs you that it's sometime after three in the morning. If you call your godfather, he will have questions, and they will need answers, and you will feel small and stupid and you hate running to him for everything, like everyone always fucking does, like he's some kind of god of getting shit done-

Like, have any of them considered that maybe they'd be better at managing their own lives if they had to, if he didn't have a phone number to call for everything and if just once he let somebody fall on the sword of their own stupidity and see what the fuck that feels like-

Not that you want to do that tonight. You call his brother, instead, because Uncle Decimus gets it.

“-and I just want to go home,” you say, pressing the heel of your hand under your eye. “Will you come and get me?”

He will. You wait.

The car crunches into the gravel of the driveway and you see in your own shadow cast on it that a light's come on in the house. Wes is up again, and you will him to just gun it the last distance and get you out of here sooner than later, but both doors open at the same time and actually, maybe you should have called the other one, because now you find yourself between the rock and hard place of two men who are not familiar with either the word or concept 'deescalation'.

“Babe, I wasn't going to do it without your permission-”

“I should jolly well think not,” and under his affronted voice you think this is why no one takes you seriously, Uncle Dess, which is not helpful if true, “you will be so thoroughly hit with the book should you contemplate it you'll be seeing stars-”

“I want to go home,” you repeat, urgently, not looking back. You aren't worried about that; it isn't the problem. “Please, let's just go.” You know that Decimus has a crowbar in the back of the Jag he's dying for someone to ask him about; you know the explanation for it is that he's seen too many films from the 70s. You know Wes did a photographer a fracture with one about seven years ago.

In a perfect world, you would have left then. Because you're not in a perfect world, what actually happens is that your uncle and your ex-boyfriend get into a three in the morning punch up on his front step and it only breaks up because you overbalance when you try to intervene and fall sideways into the garden, which is if nothing else diverting. Your godfather calls a doctor friend to the house and a lawyer to go over the release form you didn't sign but brought home with you and does it all without ever once telling you, out loud, that you should have just called him in the first place because you were coming back to his, anyway, and he'd have sent you the driver and had a hot drink waiting and it would have been much less fuss rather than more.

Listening to Decimus, you fall asleep in the living room with a hot drink in your hand. He’s telling you the outrageous tale of the last time that Septimus had to call a doctor to the house for him in the dead of night, gesturing with his tea. You catch most of the counterpoint of his brother correcting his version of events (it was only a flesh-wound; if he hadn't been gambling with those people in the first place it wouldn't have been an issue; no, Septimus most assuredly will not show her the gun, Decimus, and he isn't to have a drink with those painkillers).

Someone puts you to bed. Everything is all right.

(2017.)

“And here she is now,”

your father's hand on your elbow, drawing you into the circle of his arm. The reflected shine of the way his current adoring audience hangs on his words. It's been too long (his opinion; yours, a little) since you were last at one of these (off finding yourself, you told a pair of laughing red lips earlier, you discovered you had always been a cunt and came home) - you can't tell if it looks different now or if you're just looking at it differently.

Daddy never misses his mark, you always say, with such pride. You'd never wondered why. Look at him: everyone wants to please him. Even people who know better. They light up around him- the whole sky seems darker when he dims.

(You never had to ask which side it came from. You think: maybe I did know, a little, all along.)

The glasses he doesn't need (thinks they make him look distinguished, and the bitch of it is that they do) glint under the light from the chandeliers high above your heads and so does his smile, pressing a kiss to your temple that smells of champagne. “La principessa. She abandoned me, you know,”

“You're so dramatic,” you sigh, shaving nearly a decade off your age, the small and precious thing that your father can't stand to be without,

“abandoned me,” he repeats, as if he hadn't heard it, “so she's promised this evening to make it up to me she'll make an exception and sing for us.”

The way he lowers his voice slightly has them leaning in to hang on his words - people who've never met you or only in passing, who've never been privy to your battles about the public and the private, about the dreams he has for you and how tired you feel just thinking about them sometimes. Those people, to whom this can mean nothing at all, probably, taking the breath he wants them to take at the promise of something important, something just for us tonight. Effortlessly crafted intimacy, he holds them delicately in the palm of his hand and closes his fist, smiling-

You look at him and think with sudden clarity: he can never know.

comments

overview.

2017-04-12T01:10:19Z

ABOUT PERSONALITY ABILITIES BACKSTORY CODING

ABOUT

Gwenaëlle Wynne-York

NAME

Ilde Sauvageon

NOM DE PLUME

16 • 12 • 1992

DATE OF BIRTH

Rheintöchter (high fae)

SPECIES

New Cyrene

WORLD

FIRST IMPRESSIONS

The descendant of a bad decision made between a mentally unwell 19th century socialite and an ancient fae creature with obsessive tendencies, Gwen Wynne-York is a spoiled, mouthy and profoundly sad trainwreck with superpowers she doesn't fully understand and an "artistic temperament". She likes hedonism, research projects, red wine and not telling her father their family secrets.

Multilingual and speaking with a learned upper-class British accent lacking the regional markers of a native speaker, Gwenaëlle is 5'3", slim build with probably about a B-cup (don't undeerstimate the power of the push up bra), amber brown eyes and brunette hair. She wears her hair long, usually loose in its natural curl, and owns far too many headbands, tiaras, and absurd looking hats. One tattoo: a black ribbon tied around her upper left thigh, knotted with hanging ribbon at the outside (no bow). When she isn't protecting herself with glamours, her skin has a pearlescent quality in texture and refracting light (similar in appearance to this), and her teeth draw to fine, sharp points; there is a very slight blue hue to her dark hair, and her eyes are larger than is normal with blue-black in place of white and prism-like, starry slit pupils that dilate under stress or excitement (or in the dark), her features as a whole seeming slightly exaggerated. Increasingly, her ears are flattening against her head over time. She will typically conceal these differences beneath an illusion of what she looked like before she started leaning into her fey heritage. She typically wears either Valentina by Valentino or Que sais-je? by Jean Patou perfumes.

PERSONALITY

Having her around is a lot like keeping a temperamental cat; she's tactile, inquisitive, affectionate, and inclined to think that the people she's closest to are mobile furniture, the way she emotionally isolates herself often resulting in her seeming almost incongruously affection-starved when she reaches out or responds physically, unusually for someone who is surrounded by very affectionate people. (She also enjoys napping in the sun and attempting to adorable her way out of it when she's just done something she knows she probably shouldn't have, which her terrible little face is more or less designed for; the fey are very feline creatures, in both charming and less flattering ways, and Gwenaëlle at her brattiest is a good example of both.) She can be both coldly manipulative and ruthlessly mercenary, her usual position in social circles at the right side of a given Queen Bee allowing her to get away with more at the side of someone who grabs attention in a way she doesn't, but as a general rule her attempts to manage the people around her are at least well-intentioned. Not always, and even when they are she's not necessarily making good decisions about how to go about it, but she's a bit more amoral than immoral; she acts out of self-interest that simply expands to include the people she cares about, and she can have a terrifying lack of empathy for people she doesn't.

Driven by individual loyalty before anything else, she's just as susceptible to being guided to better behaviour by valuing the good opinion of someone with a real sense of decency as she is being enabled into more destructive paths by the opposite: without outside influence, she's essentially chaotic neutral.

She navigates her life with an artful gift for convincing people that they already have her measure, that they know exactly what she is—granting her a reprieve from the scrutiny, giving her a bit of freedom in which to be a bit more complicated. She's as capable of casual acts of unfathomable kindness as she is petty, spiteful cruelty, but dislikes being closely examined for either. Her nature is inhuman, and so is the way her mind works: she's impulse-driven in pursuit of gratification, be it intellectual, social, sexual. She likes to present herself as being very pragmatic, and in some ways this is true—but her driving force is often just wondering what will happen if she does this and a lack of self-preservation instinct (to the point of being, from time to time, passively suicidal), which is more than a little at odds with the practical nature she tries to project having. She is frequently engaged in unhealthy rationalizations with an ability to justify almost anything she wants to do and ignore her better judgment if she can't.

She's a charismatic hedonist who isn't actually much of a people-person - a theatrical introvert who gets weary of other people's company very easily, but clutches them jealously when she does want their attention. She can seem or be irrational, lashing out when she feels backed into a corner and then turning on a dime as her mood shifts—she experiences emotions more intensely than the human baseline norm and finds this difficult to contend with when living in a human environment where it's noticeably abnormal and her rapid-fire emotional rollercoastering is something she's aware is typically pathologized. While in her this generally isn't symptomatic of anything except her species, she does suffer from an undiagnosed depressive disorder that she experiences a great deal of shame in and has never sought or accepted help or acknowledgement for. She conceals this at the expense of her closest relationships, particularly with her father, who she considers her responsibility and therefore someone who requires her to be stable.

Her investment in people-pleasing has less to do with pleasing people than it does to do with having people pleased with her; her insecurities surrounding her illness and her worth drive her often to push herself to find ways of becoming indispensable, to prove that she's valuable and necessary, and to find proof of her value in places she shouldn't. (Like sexual relationships with much older intellectuals, or finding someone who likes her bad behaviour and mutually enabling each other into more.) This leads easily down paths she should take more care with—being rewarded for her worst impulses, for instance, is a kind of validation that isn't going to lead to anything good, but she wants to be wanted, to be important, to have worth she can quantify and hold up in her hands as proof she's not nothing. She doesn't feel confident trusting that someone will be there for her if she isn't worth being there for, and struggles with how to define that worth.

ABILITIES

INFLUENCE

Through voice and music, Gwenaëlle is capable of influencing the people around her - but it's relatively specific, and functions more as persuasion (or a summoning) than any kind of ability to plant suggestions. She can make people want to act in a way that will please her right now, but she can't plant the idea that they will do so tomorrow. She's capable of a subtle kind of compelling when she speaks, a stronger variation if she's singing or playing an instrument, and it's stronger again if she does this in the water. None of this is impossible to resist, though the stronger it is the more dangerous, and her unconscious use of it typically influences a person into wanting to be near her. It is not, despite the connotations of "being a siren", an inherently sexual coercion; in great stress or danger, in fact, she has used it unconsciously to free herself by demanding that someone leave her alone immediately and they've found they're unable to disobey her.

CHARISMA

...because the fae are pretty magnetic, in general, and Gwenaëlle is no exception. 'Charisma' is, however, intensely subjective and in Gwenaëlle this magic edge presents subtly enough that maybe she's just nice to be around, who knows. Still; one on one, she's present, engaging, and there is a pull to her that's perceptible to the magically sensitive (who are often more likely to be able to resist it). This is nothing completely irresistible and some people will entirely fail to register it for one reason or another; it's nothing conscious and not something that she can "turn on" or "turn off" but rather an inherent part of what she is.

GLAMOUR

While a fully fae member of Gwenaëlle's bloodline would be capable of shapeshifting, Gwenaëlle herself is for now only capable of the illusion of it. She can use illusion to extensively alter her appearance (if she wanted to impersonate a vampire, she could probably do it, including hiding her own pulse), but it is not a physical alteration. As further use of her magic and exposure to other fae augment her powers, she becomes more obviously magical in nature - getting ever closer to the possibility of being able to shapeshift herself - and she relies constantly on glamours to conceal her true appearance, her mastery of these such that she can maintain them in her sleep (though not if rendered unconscious unnaturally). She's also become capable of creating illusions independent of herself.

WATER

It is physically impossible to drown her. Fresh water lends her strength, speeds her healing process and grounds her in herself; everything is better when she has steady access to a fresh water source, preferably a waterfall or a river, but a lake will do. She isn't bound to any one water-source, unlike some of her ancestors, but might well be in the future; she is becoming more and more fae as she explores more and more of what that means, and it's an increasingly long life-span stretched out in front of her. As she becomes more fae, also, she's tried to stop laughing quite so much as it begins, increasingly, to sound more like an odd watery gurgle - not an unpleasant sound, but odd if you're not expecting it.
The lack of water literally saps her will to live. If kept away from a fresh water source for a prolonged period, Gwenaëlle will become melancholic and listless, uninterested in the world around her and mentally checking out. It won't actually kill her, but her mental state will get worse and not better until the situation is righted; she will typically find herself drawn to water sources of her own accord, and it tends to be a matter of how difficult it is to get there.

MUSIC

As a result of her nature, the fact that Gwenaëlle studied music is the laziest thing on earth; she can't not be good at this. Struggling to keep up with her course was a result of depressive episodes, stress and a dubious work ethic (she underestimated how much she can't coast on talent, good job), because it is simply her nature to be good at this - it's otherworldly, and her father's success as a musician has a lot to do with the intense experience that is witnessing him play. She also has a preternatural ability to improve the musical talents (or create them from whole cloth) of other musicians — it's not coincidental that musicians taught by her father will develop prodigious talent, it's literally an aspect of their fae nature. All they need to do to exert this ability is teach someone music, or even play with them; it is impossible not to be lifted to their level alongside.

SENSITIVITY

Sensitivity to magic / other faeries / etc; this is largely useless due to a lack of exposure for so long, so while in theory she might be able to become adept enough to not only recognize that a spell has been cast but also what spell and by who, her grasp of it is still developing and new and the sensitivity does not in and of itself tell her what it is, she needs to learn that. For example, if she met Remus Lupin and Severus Snape, she wouldn't immediately know one is a werewolf wizard and one is just a wizard: she would know that both of them resonate in a particular way, but only one resonates something else as well. If she then met Fenris Greyback, he would resonate in the same way as Remus Lupin; she would have to discover what the "something else" they both share that Severus Snape does not is by nosiness, not instinct.
The presence of other fae tends to react with her - drawing her own nature closer to the surface - and the 'too vivid' aspect of her appearance tends to be more noticeable there. She finds magic and in its presence in other people appealing - she'll seek them out instinctively, bond more readily to people in whom she senses that familiarity.

ELEMENTAL MAGIC

Gwenaëlle's magic is primarily water-based, and primarily fresh-water based; enchantments and spells that she can create are bound to water and concepts thereof - applying water metaphors to things she wants to achieve can help her achieve them, but her magic is still developing as she explores what should be possible for her, and discovers few limitations. Her most useful skill, most relied upon, is being able to travel via water-sources, as long as she knows where she's going. She can dive into a lake and emerge in a river halfway across the world, much the way her ancestor Aelfraed tends to get around. This is exclusively limited to natural or naturalized sources of fresh-water; she can't travel from bathtub to bathtub, or into the sea unless she's journeying via a fresh-water source that feeds out into an ocean.

WEAKNESS TO IRON

The remnants of Gwenaëlle's human heritage provide her with some resistance to iron sensitivities (enough to get her by, in day to day modern life) - but she can be bound with hand-forged iron, which is a) incredibly painful and b) liable to scar if left against her skin. Wounds inflicted by hand-forged iron are more likely to kill her, and will invariably leave behind a scar no matter how minor the injury.

INHUMANITY IN THE MODERN WORLD

The more that Gwenaëlle leans into the otherworldly aspect of herself, the further from human she gets — already, she's obliged to conceal her differences beneath glamour to pass in the human world, and increasingly as this slow transformation continues, she's beginning to lose her hearing above water for things other than music or song. It isn't significant yet, but enough to give her pause. Her true nature is a body not designed for the life that she leads, and she is learning to adapt to continue that life.

VAMPIRE ROOFIE

The fae are delicious - specifically, their blood has a narcotic, intoxicating effect that can be (but is not necessarily) addictive. However, fae blood also functions as a kind of mystical roofie, reversing the typical expectation that a bite 'marks' someone, in this case, drinking a faerie's blood allows that particular faerie's magic to create their own empathic bond with the vampire (allowing them to subvert a vampire's natural resistance to their influence, and giving them a reciprocal emotional link that also functions as a kind of homing beacon, as well as leaving a kind of mark of claim visible to other fae and those sensitive to their magic). Given they have to risk being murdered by a talking corpse to achieve this, it's not that appealing, as a general rule.

CHEMICAL SENSITIVITIES

So, speaking of intoxicants, human alcohol hits the fae significantly harder - Gwenaëlle's tolerance is questionable, and does not progressively improve with more drinking over time, she will always be a bit of a cheap date. She gets tipsy fast, and if she paces herself she can stay that way for quite some time! It's not as bad, again, as it would be if she weren't part-human, but she's a talkative drunk and a sudden loquacious willingness to be forthcoming is generally a good indicator sobriety has excused itself.
While alcohol is definitely the most noticeable (and common), Gwenaëlle's body is hit harder by all drugs and chemicals and she has been obliged to be careful about what she puts into herself, switching to decaf, not taking iron supplements, experimenting and seeking advice on what kinds of medication she can rely on and which will no longer serve her.

BACKSTORY

Born in Calais, 6th of December, 1992, and christened Gwenaëlle Clothilde Decima Wynne-York. Parents Emeric 'Emery' Wynne-York (composer, concert pianist, confirmed trainwreck) & Annegret 'Anne' Marquering (it girl with a chronic illness). She's a year older than Marcus Rothschild, her godfather's nephew and not officially her half-brother. Anne relocates to Paris when Gwen is two, marrying Francois Sauvageon, and maintains primary custody until Gwen is six.

Barely Legal—a collection of poems written between her eighteenth and nineteenth birthdays revolving around her own sex, sexuality, sensuality and all the sometimes unpleasant, sometimes boring and frequently uncomfortably frank details that make up those things—is completed during this time. It is released December of 2013, after her twenty-first birthday, by an independent publisher.

At 21, Gwen bails her younger brother out of a gambling debt behind his parents' back for the first time.

There's a close call when she breaks into a separatist fae realm (colloquially known as the eighth kingdom, which suffices) and nearly forfeits her right to leave through ignorance of custom. Ælfræd, who she had been following, smooths over the gaffe and deposits her in Boston with the Sewards to be taught a thing or two. Mostly, she finds out she was a bit of a cunt all along and goes home again to figure out how it's all going to work.

Koschei (not his real name) of the eighth kingdom (not its real name) maintains an interest in what he refers to as a wayward princesse du sang; when she refuses to give up the mortal world, refuses the throne beside him, he surprises all by taking her expectation that he'll adapt to her rather than the other way around with a shocking amount of patience.

What's a few hundred years for her to work this shit out to someone older than current human civilization.

Famously, the eighth kingdom has no representatives, no intermediaries, no official channels to reach them. Don't call us, we probably won't call you, with the questionable exception of Ælfræd, a high fae and high in his king's esteem except for his irritating insistence on haunting the human world to watch over his descendants. And now his granddaughter, given the role of Koschei's ambassador mostly because it's the only one she'll accept that binds her back to their court.

It comes with warding on her home rendering it an official diplomatic residence and any threats upon her an act of war, and a personal guard at her disposal hand-selected from Koschei's own. Most of the connections she establishes early on reflect less on the eighth kingdom, and more on how thoroughly she had gone about building her own network when she just wanted to make sense of a strange new world.

Ælfræd would love it if she would stop fucking with witches, the divine and unholy, things that can and want to eat her, and the sharp attention of his king. The categories have some overlap.

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aesthetic. psl.

2017-03-11T10:29:22Z

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mask or menace. social media.

2017-02-21T06:17:13Z

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11:18

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gwenwy

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015

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CONTACT

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Gwenaëlle
Maurtia Falls based ImPort. Artist, philanthropist, administratrix. Dog owner. More flexible than your girlfriend.

gwenwy

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♥ 147 likes

gwenwy
Whaaaaaat a prick. #dickheadsofinsta #importsofinsta #wearefriends #donttellhimisaid

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gwenwy

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♥ 981 likes

gwenwy
After all the fuss setting it up, I preferred the #bts shot. Thank you to @khaleesi for all her amazing work on #swearbyher xoxo

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gwenwy

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♥ 1.3k likes

gwenwy
Me and my best girl. @khaleesi #daenerysstormborn #favouriteface #importsofinsta

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gwenwy

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♥ 127 likes

gwenwy
I can't bring myself to cut the length, but I thought I'd try something new. #newbangs #anewlook #hairbystella #stellahairdechima #wheredidmyforeheadgo

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gwenwy

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gwenwy
Sorry about the quality, the lighting in this bar is appalling. And he did say social column. #welcometothefuture #stevevssocialmedia

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gwenwy

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♥ 498 likes

gwenwy
In #demarq at this month's swear-in. Never say I don't show brand loyalty :) #thesunglassesweremine #thehairlastedalloftenminutes

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gwenwy

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♥ 2089 likes

gwenwy
It was a huge privilege to be involved in the STORMBORN X MARQ launch with @khaleesi and the De Marq team last night. Thank you for the video! #stormbornxmarq #catwalkdebut #daenerys #stormborn #demarq #andididntfall

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gwenwy

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♥ 2013 likes

gwenwy
Stay tuned. #stormbornxmarq #catwalkdebut #thethingsidoforfriends #andforfreeclothes #daenerysstormborn #daenerys #stormborn #demarq #khaleesi

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gwenwy

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gwenwy
So sleepy. #stillflawless

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gwenwy
Professional wardrobe. #tryingsomethingnew #willthismakepeopledoasisay #polishedlook #professional

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gwenwy
If you're not excited for Stormborn x Marq you've
not been paying attention. ♥ @khaleesi #stormbornxmarq #daenerystargaryen #frontrow #nophotosifitrip

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gwenwy
I make exceptions for ImPort fans when they're this cute. #noautographs #nopictures #allrightonepicture

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gwenwy
Have you considered donating to Ambassador Baelish's library in Maurtia Falls? #maurtiafalls #maurtiafallslibrary #booksforkids #readmorebooks

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gwenwy
bts for BODY HEAT with mick rory @incomingheatwave airing friday :) #bodyheat #heatwave #yogaforcharity #aerialyoga #hotyoga #hghburnward #supporthospitals

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gwenwy
Let's try this. #outandabout #wholenewworld #learnfast

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( CODED BY BOOTYCALL )

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visuals + playlist.

2017-02-19T05:15:48Z

code @ midnightchills

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mask or menace. inbox.

2017-02-09T08:22:00Z

Tʜɪs ɪs Gᴡᴇɴ Wʏɴɴᴇ-Yᴏʀᴋ. I'ᴍ ɴᴏᴛ ᴀɴsᴡᴇʀɪɴɢ ᴍʏ ᴘʜᴏɴᴇ ʀɪɢʜᴛ ɴᴏᴡ.
Lᴇᴀᴠᴇ ᴀ ᴍᴇssᴀɢᴇ ᴀɴᴅ I'ʟʟ ᴘʀᴏʙᴀʙʟʏ ɢᴇᴛ ʙᴀᴄᴋ ᴛᴏ ʏᴏᴜ.

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mask or menace. permissions.

2017-02-09T08:19:09Z

ᴄᴀᴜᴛɪᴏɴ: ᴇɴɢᴀɢɪɴɢ ᴡɪᴛʜ ғᴀɪʀɪᴇs ᴍᴀʏ ʜᴀᴠᴇ ᴜɴɪɴᴛᴇɴᴅᴇᴅ sɪᴅᴇ-ᴇғғᴇᴄᴛs.

Gwen is a nymph, and as such she comes with a variety of interesting abilities and ways she might affect or register to other characters. The most relevant are below, and you can view her full power-set in her application.

ɪɴꜰʟᴜᴇɴᴄᴇ Through voice and music, Gwenaëlle is capable of influencing the people around her - but it's relatively specific, and functions more as persuasion (or a summoning) than any kind of ability to plant suggestions. She can make people want to act in a way that will please her right now, but she can't plant the idea that they will do so tomorrow. She's capable of a subtle kind of compelling when she speaks, a stronger variation if she's singing or playing an instrument, and it's stronger again if she does this in the water. None of this is impossible to resist, though the stronger it is the more dangerous, and her unconscious use of it typically influences a person into wanting to be near her (because she's a sad lonely baby, not for any cool reason). It is not, despite the connotations of "being a siren", an inherently sexual coercion; in great stress or danger, she has used it unconsciously to free herself by demanding that someone leave her alone immediately and they've found they're unable to disobey her.

In addition to this, she's inherently charismatic, exerting a very slight, unconscious magical pull that makes her engaging; this is nothing that can't be ignored (by someone strong-willed, by someone who finds her personality off-putting, by someone who just isn't susceptible to magical coercions for whatever reason) and equally is nothing that she has any active control over.

ᴀ ꜰᴜᴄᴋɪɴɢ ꜰᴀɪʀʏ Gwenaëlle is not human! She is increasingly less human as she delves deeper into the faerie aspect of her heritage and what that means; in the same way the fae can mold and change human children they take, their own halfbreeds have the potential to grow stronger than they're naturally born. What this innately means for her is that while she's not immortal, she has a significantly longer natural life span and slower aging process (her fae ancestor, Aelfraed, is old enough to remember the original dominance of witches in their world and passes for his mid to late forties). Her body temperature is lower than a human's and she's resistant to (even more comfortable in) cold temperatures, while dry heat affects her more significantly. Her skin has a pearlescent quality in texture and refracting light, and her teeth draw to fine, sharp points; there is a very slight blue hue to her dark hair and eyes. Most of the time, she's learned to conceal her visible differences with glamours.

So! Just a few quick queries, if you feel like sharing:

Is your character susceptible to Gwen's charisma or influence? An ambient ability Gwen has no control over, her ~charismatic lure~ affects whether or not a character is more inclined to enjoy her company, and can be subtle or overt depending on susceptibility / how much they would ordinarily tolerate her personality. I will never assume it is a factor in a thread if you don't indicate that your character is being influenced by it. 
Are you interested in ever being influenced by Gwen? If you are not, it won't happen! 
Can your character see through glamour? e.g. will they be able to see through her glamour and realise she isn't human? 
Can your character sense magic? Will they be able to recognise her as a magical creature / nymph whether they can see through her glamour or not? 
Is your character a vampire? Because Gwen smells delicious but they will regret it. Hit me up if you love psychic links, mind control and terrible fucking ideas. 
Anything else? Thoughts, queries, ideas?

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mask or menace. application.

2017-02-05T09:19:30Z

〈 PLAYER INFO 〉
NAME: libby
AGE: 29
JOURNAL: quisquiliary
IM / EMAIL: relevanttomyinterests gmail
PLURK: matriarchal
RETURNING: margaux (indocile)

〈 CHARACTER INFO 〉
CHARACTER NAME: Gwenaëlle ('Gwen') Clothilde Decima Wynne-York
CHARACTER AGE: 24
CANON ORIGIN: Original (London Mysteries)
CHRONOLOGY: 2017
CLASS: Anti-Heroine
HOUSING: Single, pls.

BACKGROUND:

Welcome to London Mysteries, a contemporary urban fantasy universe where the supernatural exists on a clandestine level, creating dangerous power struggles hidden from the eyes of ordinary people. If you've ever wondered what it would be like if the Illuminati were a real thing, this is your answer.

LM was created in 2009 and has evolved since its original inception, but its basic structure has remained the same: God is gone, or dead, or something, and everyone else has been left to fill in the gaps, or jockey for control. LM differs from many urban fantasy worlds in that the Catholic-Christian view of God and the devil do not apply as law. While all belief systems have some syncretic validity in the London Mysteries universe, and demonology is definitely a thing, in this world the theological truth bears a little more resemblance to the beliefs of the Yazidi religion (although no one faith is completely accurate, it turns out). In Yazidism, the holy king figure and the Devil figure who once fell from grace, Melek Taus, are one and the same. The duality of all things is key here. Nobody is all bad, but nobody's all that good, either.

In 1950, the world was completely cut off from God, Melek Taus, and most of the angels accompanying him. A long time ago, however, fallen angels taught mortal women witchcraft, and left them with seeds of the demiurge; Melek Taus foresaw his own destruction and repeated the cycle, creating new bloodlines of witches to gather the old, as well as other supernatural entities remaining on earth. Considering Melek Taus is often wrongly identified with Satan, this has re-invigorated some antiquated superstitions.

Most people don't know witches really exist, or demons, or fae, or werewolves, or any of the other supposedly mythological beings. What they do know is the world is sliding into chaos, natural entropy occurring at a higher rate than previously thought possible. Everything is just a higher-octane level of awful than in our world — the gap between the rich and the poor is bigger, depravity more common, danger more frequent. The further into the paranormal you go, the more you see how many strings are being pulled by secret societies and occult agendas. One massive corporation has taken to utilizing supernatural means in unprecedented ways, and no one, no matter how powerful, is safe from their experiments.

LM info + species overview

Gwenaëlle was born in Calais, France on the 6th of December, 1992, the only daughter of a dissolute pianist (Emeric 'Emery' Wynne-York) and an unimpressed socialite (Annegret 'Anne' Marquering), whose brief affair had long since already ended. Independent, strong-willed and being supported by a divorcée mother who sent money monthly, Anne maintained primary custody of her daughter for the next five years, permitting Emery regular visitation while she relocated from Calais to Paris, introducing Francois Sauvageon as Gwenaëlle's stepfather. When Anne's health began to decline with the onset of chronic illness, she and Emery discussed a renegotiation of custody, and at the end of 1998 he took her with him to a residence in Florence, Italy that he'd only recently relocated to himself (from London). It was a choice based in pragmatism of various stripes; Anne was increasingly unable to be Gwenaëlle's primary caretaker, Francois was fond of his stepdaughter but unprepared to abruptly become the primary caretaker to a willful five year old, and the social complications of being a single parent to a child out of wedlock were significantly easier on Emery than they were on Anne.

As an artist and philanthropist, Emery walked the knife edge of 'acceptably eccentric' and Gwenaëlle reaped the benefits and suffered the consequences of this in equal measure; their family was old money, but they were the established family scandal, never veering so far out of what was 'done' to be shunned, but essentially a social novelty not to be taken very seriously. His closest friends tended to be of a similar nature — the Beauchamp siblings, Decima and Septimus, with whom he'd been at school and who were engaged in a cold war with their parents, and Pritsca Fitzroy, who was best known for having declared her intention to live in sin with a man of the cloth (as soon as she found one suitable). This was the village that Gwenaëlle was raised by, a curious assortment of people with their own privately played out melodramas. The early months of living with her father involved a lot of being passed around like a little doll to be dressed up and trotted out, following him to his concerts, to the Beauchamps' church (Catholic; Gwenaëlle later came to believe he had her baptised in this faith expressly to impress Decima Beauchamp, their names being no accident), to sit on the laps of his friends while they argued the merits of things she was too young to understand until she had to go to bed.

In 1999, Emery's carefully managed (where 'managed' primarily meant 'concealed' or that delightful euphemism 'self-medicated') mental illness twisted him into a downward spiral. Already suffering from an untreated tendency to clinical depression, Emery's unhealthy on-again-off-again relationship with Decima (by this point married, and not to Emery) provided the triggers for a failed suicide attempt. Gwenaëlle was six years old; she didn't witness the attempt itself, but it was almost impossible to shield her from the ensuing fallout.

Finding a discreet private hospital somewhere in Eastern Europe, Septimus Beauchamp spread the rumour that his friend had run afoul of some woman's husband and found it prudent to absent himself from their social set while the affair blew over - and relocated temporarily with him, taking responsibility for Gwenaëlle while her father recuperated over the course of several years.

The trauma of the incident was only worsened by the secrecy of it; when they returned full time to Florence (where Gwenaëlle had been nannied during the school months), Gwenaëlle went away to boarding school on the understanding that this was not something they were ever going to speak about again. With a profound lack of faith in her authority figures (such as they were), Gwenaëlle became very independent very early, choosing more often than not to sink into the background and fix her attention on understanding the dynamics of people around her. It was becoming clear to her, by this point, that she didn't think quite the same way as they tended to - and due to a combination of her terror at the idea of declining the same way as her father (who suffered life-long damage that involved a difficulty forming new memories) and the accepted idea that mental illness was inherently unacceptable, she devoted herself to appearing as unremarkably normal as she could humanly be.

At this point several things need to be elaborated on. Emeric Wynne-York was himself born the illegitimate son of sixteen-year-old de Lacey heiress Allegra and eighteen-year-old carpentry apprentice Edmund Seward, in 1967. The above probably speaks for itself in why his grandparents made the decision to quietly have the infant (named Charles de Lacey III by his mother, after her older brother) adopted out. They were loosely acquainted with the Wynne-Yorks - Tristram and Annis - who were having difficulty conceiving at the time, so they killed two birds with one baby, and went their separate ways.

The de Lacey family has a history of mental illness, notably cropping up in the 1890s with Camilla de Lacey, whose untreated bipolar and frustration with her social position led to suicide by drowning - but also traced back to the 1890s is the origin of their fey heritage. Camilla was involved with a Nix by the name of Ælfræd whose son she passed off as her husband's (after forcing Ælfræd to give his oath to leave them be), and subsequent generations of the family have carried that blood and the touch of fey with them. They aren't all the way to faerie, but they're also palpably not entirely human - and there's a fey callousness in the ability to be unconcerned by the potential consequences of giving up a child of their bloodline to humans. Presumably privileged humans would be good enough; they'd lived among them for long enough, after all. It didn't go quite according to plan.

Suffering from periods of depression, terror of her own mind and related issues arising from her 'interesting' upbringing, Gwenaëlle grew into a sort of extroverted introvert; she moved in interesting circles but never seemed entirely interested, engaging and charming but slightly aloof in a way that suggested a private world no one else was being invited into. She spent most of her free time writing, scribbling down her own thoughts and verses and obsessively devouring the words of other people, fascinated by the written word in a way that few other things had captured her attention. Her earliest pieces - published in journals and shared with writing profesors she knew or was sleeping with - were almost a guilty secret, aware as she was of her father's expectation that she would study music and follow in his footsteps.

She planned to skip going home to Florence full time after boarding school (Marymount, outside London) and instead prevailed on Septimus ('Seven') to agree to put her up in his London townhouse while she pursued the expected path (and, unsupervised, could devote more time to something that might become contentious if it were observed as an ambition), because exactly what every self-destructive teenage girl needs is ready access to the city and minimal, distracted supervision. She finished out her boarding school years and moved onto Guildhall, where she started with a principal study in the cello, her application to do a joint principal study with the cello and singing having been declined - spent six weeks in Switzerland being 'finished' at IVP over a summer when she was 19. Around the same time, her first published collection of poems (Barely Legal, a collection of poems written between her eighteenth and nineteenth birthdays revolving around her own sex, sexuality, sensuality and all the sometimes unpleasant, sometimes boring and frequently uncomfortably frank details that make up those things) was completed and then released in December of 2013, just after her twenty-first birthday, with subsequent work published through her former stepmother's new production company and publishing house.

At 22, Gwenaëlle's illusion of her world and the people in it as mundane was shattered when she was abducted by a witch-hunter due to her connection to Hasibe Ozcelik, her aforementioned stepmother, who as the direct descendent of Melek Taus has been intended and expected to assume the mantle of witch-queen and gather the old and new blood to fight back against the destructive forces working - and currently winning - in their world. Melek Taus is duality, God and the fallen in one, and in being wrongly identified with Satan creates more confusion as to where exactly the enemies are - Gwenaëlle was not known to be anything but potential leverage against a dangerous satanic being when she was taken, and her captor was unprepared for her to exert instinctive magical influence in her panic state.

He let her out of the car two hours outside of London by foot. He gave her her purse back and agreed, slightly puzzled by it, when she told him he was being a cunt. She walked back to the city with a lot of questions, and spent the subsequent two years looking for answers - some of which Hasibe could give her, and others she could not, and all of which were complicated by her newly-found reluctance to be out and about alone, anxiety with strangers and awareness that there wasn't much stopping someone with better preparation trying again except sinking her hands into something that terrified her for entirely different reasons: the realisation that her own skin had lied to her for as long as she'd been alive, and the world was more than she believed it to be, and she didn't get to pretend not to know.

PERSONALITY: Gwenaëlle, like all fey and their kin, doesn't think quite the same way a human would, driven by impulse, gratification and curiosity long before things like 'morality' get a look in - unfortunately, knowing very little but a human world for so long growing up, this has been a source of more than a little bit of concern for her. She is constantly in a private argument with herself - the back and forth pull of what her instinct to do is and what she knows is the more socially acceptable thing, the disconnect when she doesn't really understand why she's expected to prioritize or care about something in particular (modesty, for instance: a foreign concept to most nymphs). Often, this results in some Olympic level justifications being dredged up to make the most insane spur of the moment decisions sound like sound, pragmatic choices. (As long as you don't look too closely at what she's actually doing.) She likes to present herself as being very pragmatic, and in some ways this is true - but her driving force is often just wondering what will happen if she does this and a lack of self-preservation instinct (to the point of being, from time to time, passively suicidal), which is more than a little at odds with the practical nature she tries to project having. Her ability to justify to herself decisions that are objectively bad should be legendary, and frequently involves 'but I could be doing [even worse thing], and I'm not, ergo I am totally in the right right now'. Aware that decisions are, in theory, supposed to be made based on logic and not on 'I want', she spends a lot of time twisting and rationalizing until she can argue, however thinly, that what she's doing makes sense.

The combination of a baseline impulsive nature, a tendency to justify doing whatever she wants to do and a great deal of unhappiness she doesn't want to deal with results in a slight tendency to be a bit of a tiny hedonist, not only looking for something that feels good but for something that feels natural.

Gwenaëlle has an undiagnosed and untreated depressive disorder that she attempts to BOOTSTRAPS! her way through, uncomfortable with her own internalized hatred and mistrust of mental illness; this is not something she commonly seeks help for, this is something she's ashamed of and will strive to conceal, occasionally at the expense of her close relationships, particularly with family, although arguably she's had the most practise at lying to her family and they are often not necessarily aware of how bad a given situation might be. Her self-worth suffers as a result - she frequently thinks of herself in terms of 'a problem' that other people are forced to deal with; the way she obscures herself from her family is something she does out of a sense that she needs to protect ... mainly her father. He struggles enough, she reasons - he doesn't need to be worried about her when she's afraid he couldn't handle it. Appearances are what matters when reality is just what everyone agrees it is. He needs her to be well for him, so she is. As long as no one looks too closely.

She can seem (and ... be) irrational, lashing out when she feels backed into a corner and then turning on a dime as her mood shifts - she experiences emotions more intensely than the human baseline norm and finds this difficult to contend with when living in a human environment where it's noticeably abnormal and her rapid-fire emotional rollercoastering is something she's aware is typically pathologized. It is difficult to gauge her mental health, besides generalizing it as 'probably not very good, obviously', for the simple fact that she can't be assessed in precisely the same way as a human. There are things about herself that she struggles with which are not the result of illness or trauma-- but knowing what she is and what those are wouldn't negate the things she struggles with which are.

On the positive side of things, having her around is a lot like keeping a temperamental cat; she's tactile, inquisitive, affectionate, and inclined to think that the people she's closest to are mobile furniture, the way she emotionally isolates herself often resulting in her seeming almost incongruously affection-starved when she reaches out or responds physically, unusually for someone who is surrounded by very affectionate people. (She also enjoys napping in the sun and attempting to cute her way out of it when she's just done something she knows she probably shouldn't have, which her terrible little face is more or less designed for; the fey are very feline creatures, in both charming and less flattering ways, and Gwenaëlle at her brattiest is a good example of both.) She can be both coldly manipulative and ruthlessly mercenary, her usual position in social circles at the right side of a given Queen Bee allowing her to get away with more at the side of someone who grabs attention in a way she doesn't, but as a general rule her attempts to manage the people around her are at least well-intentioned. Not always, and even when they are she's not necessarily making good decisions about how to go about it, but she's a bit more amoral than immoral; she acts out of self-interest that simply expands to include the people she cares about, and she can have a terrifying lack of empathy for people she doesn't. Her personal space includes other people, to put it one way.

Her investment in people-pleasing has less to do with pleasing people than it does to do with having people pleased with her; her insecurities surrounding her illness and her worth drive her often to push herself to find ways of becoming indispensable, to prove that she's valuable and necessary, and to find proof of her value in places she shouldn't. (Like sexual relationships with much older intellectuals, or finding someone who likes her bad behaviour and mutually enabling each other into more.) This leads easily down paths she should take more care with - being rewarded for her worst impulses, for instance, is a kind of validation that isn't going to lead to anything good, but she wants to be wanted, to be important, to have worth she can quantify and hold up in her hands as proof she's not nothing. She doesn't feel confident trusting that someone will be there for her if she isn't worth being there for, and struggles with how to define that worth.

Secretive and mistrustful - a lack of anyone in her life she found genuinely reliable for so long in her formative years has meant a tendency to perceive people in general as unreliable - Gwenaëlle finds it difficult to discuss her own feelings in any coherent way, and as a rule she's unwilling to try. Most of the time, she puts off inquiries (or straightforwardly lies), and will typically do her level best to wriggle out of having to do it before anyone manages to pin her down. She often diverts attention from this through selective bluntness - making a show of being frank about something unexpected, which means people are looking less closely at what she isn't saying than what she is, making it easy for herself to keep a secret that's important to her by giving up one that isn't, really. When she does recognize the necessity, she hates it, and will change the subject or distract the other person with a mood shift as soon as she thinks she's told them 'enough', sometimes justifying a little with the fact that she hardly ever does this at all. Clearly, they should accept this far and no further, and let her talk about something else. Anything else. She does, when drunk, have a slight tendency to drop something horrifying into a conversation like an anvil and then breeze past it as if it never happened; this is as close as she gets to open and honest emotional communication, typically.

POWER:

A FUCKING FAERIE:

Gwenaëlle is not human! She is increasingly less human as she delves deeper into the faerie aspect of her heritage and what that means; in the same way the fae can mold and change human children they take, their own halfbreeds have the potential to grow stronger than they're naturally born. What this innately means for her is that while she's not immortal, she has a significantly longer natural life span and slower aging process (her fae ancestor, Aelfraed, is old enough to remember the original dominance of witches in their world and passes for his mid to late forties). Her body temperature is lower than a human's and she's resistant to (even more comfortable in) cold temperatures, while dry heat affects her more significantly. Her skin has a pearlescent quality in texture and refracting light, and her teeth draw to fine, sharp points; there is a very slight blue hue to her dark hair and eyes. Most of the time, she's learned to conceal her visible differences with glamours. She's inherently charismatic, exerting a very slight, unconscious magical pull that makes her engaging; this is nothing that can't be ignored (by someone strong-willed, by someone who finds her personality off-putting, by someone who just isn't susceptible to magical coercions for whatever reason) and equally is nothing that she has any active control over.

ELEMENTAL MAGIC:

Gwenaëlle's magic is primarily water-based, and primarily fresh-water based; enchantments and spells (including glamours, which when dispelled run off like water in a way that's slightly unsettling to look at happening on her face) that she can create are bound to water and concepts thereof - applying water metaphors to things she wants to achieve can help her achieve them, but her magic is still developing and unsteady and she can't do a lot of very impressive things with the exception of being able to travel via water-sources, as long as she knows where she's going. She can dive into a lake and emerge in a river halfway across the world, much the way her ancestor Aelfraed tends to get around, although in this she's more limited than he is, as Aelfraed has been known to be able to manipulate his passage through time and Gwenaëlle would probably balk too much psychologically at the concept of doing so to recreate it. She can easily manipulate freshwater, shaping it to respond to her will, and conjure water from nearby sources without much effort. Her strongest abilities in this area are the direct manipulation of water (she can make a river rise up in the shape of a hand to flip someone off ... or punch them, but honestly, the rude gesture would be her first instinct) and the creation of illusions, especially the use of water to do so. The stroppy liar makes good illusions, who could have imagined.

MUSICALLY INCLINED:

Through voice and music, Gwenaëlle is capable of influencing the people around her - but it's relatively specific, and functions more as persuasion (or a summoning) than any kind of ability to plant suggestions. She can make people want to act in a way that will please her right now, but she can't plant the idea that they will do so tomorrow. She's capable of a subtle kind of compelling when she speaks, a stronger variation if she's singing or playing an instrument, and it's stronger again if she does this in the water. None of this is impossible to resist, though the stronger it is the more dangerous, and her unconscious use of it typically influences a person into wanting to be near her (because she's a sad lonely baby, not for any cool reason). It is not, despite the connotations of "being a siren", an inherently sexual coercion; in great stress or danger, she has used it unconsciously to free herself by demanding that someone leave her alone immediately and they've found they're unable to disobey her.

As a result of her nature, the fact that Gwenaëlle is studying music is the laziest thing on earth; she can't not be good at this. The struggles she had in keeping up with her course load were to do with depressive episodes, panic attacks, stress and a dubious work ethic (she underestimated how much she can't coast on talent, good job, although she did still coast on talent), because it is simply her nature to be good at this - it's otherworldly, and her father's success as a musician has a lot to do with the intense experience that is witnessing him play. Gwenaëlle doesn't intend to go on as a performer; she chose to go into something that she knows she's good at because trying and potentially failing at something more challenging is a frightening possibility. It's also something that she can pass onto others; a student with little to no natural talent and a tin ear would still become a gifted musician with her tutelage.

Related weaknesses include the following:

cold iron
Being part-human, Gwenaëlle is not as susceptible to this as the true fae - but she can be bound with hand-forged iron, which is a) incredibly painful and b) liable to scar if left against her skin! Wounds inflicted by an iron weapon heal sluggishly and invariably scar, and are more likely to kill her.

water
The lack of it literally saps her will to live. If kept away from a fresh water source for a prolonged period, Gwenaëlle will become melancholic and listless, uninterested in the world around her and mentally checking out. It won't actually kill her, but her mental state will get worse and not better until the situation is righted; she will typically find herself drawn to water sources of her own accord, and it tends to be a matter of how difficult it is to get there.

vampires
The fae are delicious - specifically, their blood has a narcotic, intoxicating effect that can be (but is not necessarily) addictive. A full blooded faerie would put a vampire on their ass (and also probably be a lot of hassle in the process), while someone like Gwenaëlle has a lessened impact - however, fae blood also functions as a kind of mystical roofie, reversing the typical expectation that a bite 'marks' someone, in this case, drinking a faerie's blood allows that particular faerie's magic to create their own bond with the vampire (allowing them to subvert a vampire's natural resistance to their influence, and giving them a reciprocal emotional link that also functions as a kind of homing beacon, as well as leaving a kind of mark of claim visible to other fae and those sensitive to their magic). Given they have to risk being murdered by a talking corpse to achieve this, and especially considering the vampire population of LM is largely Trainspotting rejects due to a recruitment boom in the 80s as their numbers dwindled when they were targeted by Prometheus, this isn't really an appealing prospect.

chemicals
So, speaking of: human alcohol hits the fae significantly harder - Gwenaëlle's tolerance is questionable, and does not progressively improve with more drinking over time, she will always be a bit of a cheap date. She gets tipsy fast, and if she paces herself she can stay that way for quite some time! It's not as bad, again, as it would be if she weren't part-human, but she's a talkative drunk and a sudden loquacious willingness to be forthcoming is generally a good indicator sobriety has excused itself.

While alcohol is definitely the most noticeable (and common), Gwenaëlle's body is hit harder by all drugs and chemicals and she has been obliged to be careful about what she puts into herself.

〈 CHARACTER SAMPLES 〉
COMMUNITY POST (VOICE) SAMPLE: Assuming for the sake of argument that this isn't a psychotic break, which, sure, let's say that we're assuming that: is everybody here really so open about what they can do? Like you just talk about being magic or nonhuman and it's normal and fine and nobody gets black-bagged and dissected. Does anyone want to talk about magic and not being dissected.

( she thinks about posting it anonymously. then she thinks, don't be such a baby, aggrieved, and pulls the trigger. )

LOGS POST (PROSE) SAMPLE: ( there are a lot of things in this new world to be afraid of. there's no arguing with that, gwen thinks, it's not fucking ambiguous, any world that has to import people to do its heroism (or ... whatever, since: why is she here, then) is a world full of things to be afraid of. probably a lot of them are the people they've imported, frankly, a group she finds immediately suspicious based on a quick perusal of the network -

the thing is, none of it is personal.

nobody knows her name, where she came from, who she is or what it means. when she introduces herself she's this one thing in front of them; there are no other names floating ahead of hers in context, she's not leverage for the monsters or scandal-fodder for the journalists, she's not important. when she holds a dress against herself in the mall in de chima she doesn't imagine it being photographed or if the material will turn sheer under the wrong lighting and be immortalised in the daily mail online with her tits out and an insert link to get the look. no one here has ever tried to kidnap her.

the novelty will wear off; other, stranger things will replace the old anxieties. some of the old ones will return, when the minor celebrity of imports is as unavoidable as photographers outside a bar her father is in. she walks past a newspaper headline covering the recent prison escapes while looking for new stationery and it will enter her consciousness sooner or later, but: right now, this instant.

this is not the worst thing that's ever happened to her in her life. what that reflects on is better left unexamined, which is great, because gwen has so much practise at leaving those things where they lie-- )

FINAL NOTES: I am happy to adjust Gwen's powers further if need be! I dropped magical sensitivity from the line up - she'll notice the absence - as unnecessary. Also, I would like her to bring her dog, Putin Onartiz - he has no powers and is an ordinary animal, but he's a crossbreed vlcak-ovcharka and thus a big dog, so I'm not sure if he's kosher due to size? (90kg when he's finished growing; currently about half that.)

comments

eudio. residence.

2017-01-29T03:37:42Z

A ten bedroom home on a gated property with full amenities, landscaping and an outdoor swimming pool. There are five bedrooms in the main house, a guest wing with two bedroom suites, sitting room, kitchen and pigonierre; an outbuilding previously in use as an office has been converted into a guest house with a further three bedrooms. Gwen's uncle's restored and upgraded E-type Jag is parked in the garage.

Gwen's bedroom (above). Attached bathroom.

Guest room (above). No bath.

Set aside for Jem and Petre (above). Attached bathroom.

A room has also been set aside for Freddie (and his fella) with an attached bath.

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eudio. permissions.

2017-01-29T02:51:43Z

ᴄᴀᴜᴛɪᴏɴ: ᴇɴɢᴀɢɪɴɢ ᴡɪᴛʜ ғᴀɪʀɪᴇs ᴍᴀʏ ʜᴀᴠᴇ ᴜɴɪɴᴛᴇɴᴅᴇᴅ sɪᴅᴇ-ᴇғғᴇᴄᴛs.

Gwen is a nymph, and as such she comes with a variety of interesting abilities and ways she might affect other characters. The most relevant is below--

sᴇɴsɪᴛɪᴠɪᴛʏ Although she can't always identify what it is that she's sensing specifically, Gwen is sensitive to magic and the magically inclined or created, both able to sense the fact of it and its nuances. For example, she could in theory not only recognize that a spell has been cast, but what sort of spell and who by, or differentiate between different species of vampire. Naturally occurring powers in non-magical creatures (e.g. mutants) or scientifically derived abilities/beings (e.g. viral zombies, SCIENCE vampires) do not register to her.

(go here to view her power-set in full, noting that her charisma and influence powers are drastically dampened in eudio.)

So! Just a few quick queries, if you feel like sharing:

comments

eudio. inbox.

2017-01-29T02:47:35Z

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eudio. cuddlr.

2017-01-29T02:46:26Z

Gwen Wynne-York (24)

Yes, I used to use the name Ilde. No, I am not using that name any more. And it's Gwenaëlle, but let's not have everyone fall over themselves trying to correctly pronounce that.

✓ ✕

YES

NO

ORIGINAL IMAGE CODE BY TESSISAMESS

comments

inbox. sidereality.

2017-01-09T02:34:12Z

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application | when you take a trip to find yourself and discover that you're an asshole.

2016-12-12T03:06:56Z

PLAYER INFORMATION

NAME: libby!
AGE: i will be 29 by the end of january.
CONTACT: matriarchal
CHARACTERS PLAYED: I've previously played Gwenaëlle here (under a different name; ICly the explanation for the OOC name change will be that she'd lied about it, using half of her nom de plume + her grandmother's maiden name), and Enfys Llewelyn briefly.

CHARACTER INFORMATION

NAME: Gwenaëlle Clothilde Decima Wynne-York, pseudonyms Ilde Sauvageon and Ilde Featherstonehaugh
CANON: Original (LONDON MYSTERIES)
AGE: 24!
CANON POINT: Several months after having returned to London from her Gwenaëlle Does The Supernatural World Tour.

BACKGROUND: Gwenaëlle was born in Calais, France on the 6th of December, 1992, the only daughter of a dissolute pianist (Emeric 'Emery' Wynne-York) and an unimpressed socialite (Annegret 'Anne' Marquering), whose brief affair had long since already ended. Independent, strong-willed and being supported by a divorcée mother who sent money monthly, Anne maintained primary custody of her daughter for the next five years, permitting Emery regular visitation while she relocated from Calais to Paris, introducing Francois Sauvageon as Gwenaëlle's stepfather. When Anne's health began to decline with the onset of chronic illness, she and Emery discussed a renegotiation of custody, and at the end of 1998 he took her with him to a residence in Florence, Italy that he'd only recently relocated to himself (from London). It was a choice based in pragmatism of various stripes; Anne was increasingly unable to be Gwenaëlle's primary caretaker, Francois was fond of his stepdaughter but unprepared to abruptly become the primary caretaker to a willful five year old, and the social complications of being a single parent to a child out of wedlock were significantly easier on Emery than they were on Anne.

As an artist and philanthropist, Emery walked the knife edge of 'acceptably eccentric' and Gwenaëlle reaped the benefits and suffered the consequences of this in equal measure; their family was old money, but they were the established family scandal, never veering so far out of what was 'done' to be shunned, but essentially a social novelty not to be taken very seriously. His closest friends tended to be of a similar nature — the Beauchamp siblings, Decima and Septimus, with whom he'd been at school and who were engaged in a cold war with their parents, and Pritsca Fitzroy, who was best known for having declared her intention to live in sin with a man of the cloth (as soon as she found one suitable). This was the village that Gwenaëlle was raised by, a curious assortment of people with their own privately played out melodramas. The early months of living with her father involved a lot of being passed around like a little doll to be dressed up and trotted out, following him to his concerts, to the Beauchamps' church (Catholic; Gwenaëlle later came to believe he had her baptised in this faith expressly to impress Decima Beauchamp, their names being no accident), to sit on the laps of his friends while they argued the merits of things she was too young to understand until she had to go to bed.

In 1999, Emery's carefully managed (where 'managed' primarily meant 'concealed' or that delightful euphemism 'self-medicated') mental illness twisted him into a downward spiral. Already suffering from an untreated tendency to clinical depression, Emery's unhealthy on-again-off-again relationship with Decima (by this point married, and not to Emery) provided the triggers for a failed suicide attempt. Gwenaëlle was six years old; she didn't witness the attempt itself, but it was almost impossible to shield her from the ensuing fallout.

Finding a discreet private hospital somewhere in Eastern Europe, Septimus Beauchamp spread the rumour that his friend had run afoul of some woman's husband and found it prudent to absent himself from their social set while the affair blew over - and relocated temporarily with him, taking responsibility for Gwenaëlle while her father recuperated over the course of several years.

The trauma of the incident was only worsened by the secrecy of it; when they returned full time to Florence (where Gwenaëlle had been nannied during the school months), Gwenaëlle went away to boarding school on the understanding that this was not something they were ever going to speak about again. With a profound lack of faith in her authority figures (such as they were), Gwenaëlle became very independent very early, choosing more often than not to sink into the background and fix her attention on understanding the dynamics of people around her. It was becoming clear to her, by this point, that she didn't think quite the same way as they tended to - and due to a combination of her terror at the idea of declining the same way as her father (who suffered life-long damage that involved a difficulty forming new memories) and the accepted idea that mental illness was inherently unacceptable, she devoted herself to appearing as unremarkably normal as she could humanly be.

At this point, let's rewind. Emeric Wynne-York was himself born the illegitimate son of sixteen-year-old de Lacey heiress Allegra and eighteen-year-old carpentry apprentice Edmund Seward, in 1967. The above probably speaks for itself in why his grandparents made the decision to quietly have the infant (named Charles de Lacey III by his mother, after her older brother) adopted out. They were loosely acquainted with the Wynne-Yorks - Tristram and Annis - who were having difficulty conceiving at the time, so they killed two birds with one baby, and went their separate ways.

The de Lacey family has a history of mental illness, notably cropping up in the 1890s with Camilla de Lacey, whose untreated bipolar and frustration with her social position led to suicide by drowning - also traced back to the same woman is the origin of their fey heritage. Camilla was involved with a Nix by the name of Ælfræd whose son she passed off as her husband's (after forcing Ælfræd to give his oath to leave them be), and subsequent generations of the family have carried that blood and the touch of fey with them. They aren't all the way to faerie, but they're also palpably not entirely human - and there's a fey callousness in the ability to be unconcerned by the potential consequences of giving up a child of their bloodline to humans.

Suffering from periods of depression, terror of her own mind and related issues arising from her 'interesting' upbringing, Gwenaëlle grew into a sort of extroverted introvert; she moved in interesting circles but never seemed entirely interested, engaging and charming but slightly aloof in a way that suggested a private world no one else was being invited into. She spent most of her free time writing, scribbling down her own thoughts and verses and obsessively devouring the words of other people, fascinated by the written word in a way that few other things had captured her attention. Her earliest pieces - published in journals and shared with writing professors she knew or was sleeping with - were almost a guilty secret, aware as she was of her father's expectation that she would study music and follow in his footsteps.

She planned to skip going home to Florence full time after boarding school and instead prevailed on Septimus ('Seven') to agree to put her up in his London townhouse while she pursued the expected path (and, unsupervised, could devote more time to something that might become contentious if it were observed as an ambition), because exactly what every self-destructive teenage girl needs is ready access to the city and minimal, distracted supervision. She finished out her boarding school years and moved onto Guildhall, where she started with a principal study in the cello, her application to do a joint principal study with the cello and singing having been declined. Around the same time, her first published collection of poems (Barely Legal, a collection of poems written between her eighteenth and nineteenth birthdays revolving around her own sex, sexuality, sensuality and all the sometimes unpleasant, sometimes boring and frequently uncomfortably frank details that make up those things) was completed and then released in December of 2013, just after her twenty-first birthday, with subsequent work published through her former stepmother's new production company and publishing house.

Through two trips to Eudio that exposed to her her own true nature, Gwenaëlle finally set music to one side and developed her powers and her concept of her own place in the world - a dangerous one, especially as she has an unprecedented tendency to mix with the nephilim witch-queens that most fae prefer to steer clear of - over the past three years; this has included extensive research, world travel, bonding with her Seward relatives when she tracked down what it was that happened to Allegra and Edmund after her father was taken from them, and a vigorous affair with the ancient king of a fae land (Vyacheslav, who introduced himself to her as 'Koschei') she broke into in search of answers to the questions of what she is and what that means. Lara would've been really proud of her right up to the point where she shagged history instead of studied it. That entanglement led to a proposal that Gwenaëlle isn't completely sure what to do with - the thoroughly modern nymph not entirely sure she's prepared to be bound for the next however many centuries to a land between lands that doesn't have any fucking WiFi.

Eudio seems like the perfect place to think over the next thousand years of her life. If her world has that long.

PERSONALITY Gwenaëlle, like all fey and their kin, doesn't think quite the same way a human would, driven by impulse, gratification and curiosity long before things like 'morality' get a look in - unfortunately, knowing very little but a human world for so long growing up, this has been a source of more than a little bit of concern for her. She is constantly in a private argument with herself - the back and forth pull of what her instinct to do is and what she knows is the more socially acceptable thing, the disconnect when she doesn't really understand why she's expected to prioritize or care about something in particular (modesty, for instance: a foreign concept to most nymphs). Often, this results in some Olympic level justifications being dredged up to make the most insane spur of the moment decisions sound like sound, pragmatic choices. (As long as you don't look too closely at what she's actually doing.) She likes to present herself as being very pragmatic, and in some ways this is true - but her driving force is often just wondering what will happen if she does this and a lack of self-preservation instinct (to the point of being, from time to time, passively suicidal), which is more than a little at odds with the practical nature she tries to project having. Her ability to justify to herself decisions that are objectively bad should be legendary, and frequently involves 'but I could be doing [even worse thing], and I'm not, ergo I am totally in the right right now'. Aware that decisions are, in theory, supposed to be made based on logic and not on 'I want', she spends a lot of time twisting and rationalizing until she can argue, however thinly, that what she's doing makes sense.

The combination of a baseline impulsive nature, a tendency to justify doing whatever she wants to do and a great deal of unhappiness she doesn't want to deal with results in a slight tendency to be a bit of a tiny hedonist, not only looking for something that feels good but for something that feels natural.

Gwenaëlle has an undiagnosed and untreated depressive disorder that she attempts to BOOTSTRAPS! her way through, uncomfortable with her own internalized hatred and mistrust of mental illness; this is not something she commonly seeks help for, this is something she's ashamed of and will strive to conceal, occasionally at the expense of her close relationships, particularly with family, although arguably she's had the most practise at lying to her family and they are often not necessarily aware of how bad a given situation might be. Her self-worth suffers as a result - she frequently thinks of herself in terms of 'a problem' that other people are forced to deal with; the way she obscures herself from her family is something she does out of a sense that she needs to protect ... mainly her father. He struggles enough, she reasons - he doesn't need to be worried about her when she's afraid he couldn't handle it. Appearances are what matters when reality is just what everyone agrees it is. He needs her to be well for him, so she is. As long as no one looks too closely.

She can seem (and ... be) irrational, lashing out when she feels backed into a corner and then turning on a dime as her mood shifts - she experiences emotions more intensely than the human baseline norm and finds this difficult to contend with when living in a human environment where it's noticeably abnormal and her rapid-fire emotional rollercoastering is something she's aware is typically pathologized. It is difficult to gauge her mental health, besides generalizing it as 'probably not very good, obviously', for the simple fact that she can't be assessed in precisely the same way as a human. There are things about herself that she struggles with which are not the result of illness or trauma-- but knowing what she is and what those are wouldn't negate the things she struggles with which are.

On the positive side of things, having her around is a lot like keeping a temperamental cat; she's tactile, inquisitive, affectionate, and inclined to think that the people she's closest to are mobile furniture, the way she emotionally isolates herself often resulting in her seeming almost incongruously affection-starved when she reaches out or responds physically, unusually for someone who is surrounded by very affectionate people. (She also enjoys napping in the sun and attempting to cute her way out of it when she's just done something she knows she probably shouldn't have, which her terrible little face is more or less designed for; the fey are very feline creatures, in both charming and less flattering ways, and Gwenaëlle at her brattiest is a good example of both.) She can be both coldly manipulative and ruthlessly mercenary, her usual position in social circles at the right side of a given Queen Bee allowing her to get away with more at the side of someone who grabs attention in a way she doesn't, but as a general rule her attempts to manage the people around her are at least well-intentioned. Not always, and even when they are she's not necessarily making good decisions about how to go about it, but she's a bit more amoral than immoral; she acts out of self-interest that simply expands to include the people she cares about, and she can have a terrifying lack of empathy for people she doesn't. Her personal space includes other people, to put it one way.

Her investment in people-pleasing has less to do with pleasing people than it does to do with having people pleased with her; her insecurities surrounding her illness and her worth drive her often to push herself to find ways of becoming indispensable, to prove that she's valuable and necessary, and to find proof of her value in places she shouldn't. (Like sexual relationships with much older intellectuals, or finding someone who likes her bad behaviour and mutually enabling each other into more.) This leads easily down paths she should take more care with - being rewarded for her worst impulses, for instance, is a kind of validation that isn't going to lead to anything good, but she wants to be wanted, to be important, to have worth she can quantify and hold up in her hands as proof she's not nothing. She doesn't feel confident trusting that someone will be there for her if she isn't worth being there for, and struggles with how to define that worth.

Secretive and mistrustful - a lack of anyone in her life she found genuinely reliable for so long in her formative years has meant a tendency to perceive people in general as unreliable - Gwenaëlle finds it difficult to discuss her own feelings in any coherent way, and as a rule she's unwilling to try. Most of the time, she puts off inquiries (or straightforwardly lies), and will typically do her level best to wriggle out of having to do it before anyone manages to pin her down. She often diverts attention from this through selective bluntness - making a show of being frank about something unexpected, which means people are looking less closely at what she isn't saying than what she is, making it easy for herself to keep a secret that's important to her by giving up one that isn't, really. When she does recognize the necessity, she hates it, and will change the subject or distract the other person with a mood shift as soon as she thinks she's told them 'enough', sometimes justifying a little with the fact that she hardly ever does this at all. Clearly, they should accept this far and no further, and let her talk about something else. Anything else. She does, when drunk, have a slight tendency to drop something horrifying into a conversation like an anvil and then breeze past it as if it never happened; this is as close as she gets to open and honest emotional communication, typically.

INCENTIVE: Mostly, Gwenaëlle is here to take a break from her real life somewhere that allows her as much time as she needs without any time passing back home to inconvenience her. However, along the lines of her previous incentive requests, she would like a new, furnished house (a bigger one than last time, since she kept adopting strays), to be reimbursed back rent on the house she left in Jem and Freddie's care (not by them, by the city), and to be able to bring her own belongings and her uncle's black Jag (a 70s E type roadster with extensive after-market work) which she has "borrowed for the weekend".

FIT: Ever since the first time Eudio was introduced to her as a concept, Gwenaëlle has been fascinated by it - by the reasons people come (she was originally quite shocked by the seriousness of some of them), by the way they behave while they're here and why. If no incentives were provided, she would still return - going from somebody's girlfriend or daughter in various magazines and think-pieces to the anonymity being nobody in particular in a place outside of her "real life" is far more seductive to her than anything tangibly offered. She views it as a sort of working holiday - a respite from the real world that she's very affectionate towards, a place where she first Practised Being A Grown Up and made friendships that have been formative and valuable. This will be her third trip back, and she's grown into herself more, has more confidence and comfort in some things - less in others. It gives her somewhere to peacefully examine herself and decide what matters to her.

While getting mad laid. What's not to fucking love about that?

CONSENT: As detailed below, Gwenaëlle does have powers that complicate - or outright run roughshod over - the concept of consent. However, she first discovered these powers in Eudio (where they were suppressed), where she was constantly having that message of the importance of consent reinforced to her by both the world around her and some of the people in it; although she's had tempting twinges (thinking about saying "I don't have to pay for this, do I?" when she wants a dress she doesn't want her father to see the price of in her credit card statement, for instance), actual use of her influence powers have been exclusively limited to extricating herself from potentially life-threatening situations. She understands and values the sexual consent of her partners, and though she struggles sometimes with applying the same thing to herself, it's not a hardship for her in Eudio to keep in view that she also is entitled to say 'no' when she doesn't want something. It is a more recent lesson for a girl who has long sought validation in others, and she would partially credit her time in Eudio previously for it sticking. She's always been better at giving sexual advice than taking it, prone to reckless disregard for her own safety, but that is changing and Eudio can only help.

SAMPLES: from the JAMJAR MEME: "Percival Graves" buys Gwen a drink, Severus Snape and Gwen don't like robots, Gwenaëlle Clothilde Decima Wynne-York should probably stop talking shit about other people's names.

ANYTHING ELSE?

Gwenaëlle is 5'3", slim build with probably about a B-cup (don't understimate the power of the push up bra), hazel eyes and brunette hair, close to but not quite black. She wears her hair long, usually loose, and owns far too many headbands, tiaras, and absurd looking hats. One tattoo: a black ribbon tied around her upper left thigh, knotted with hanging ribbon at the outside (no bow). Something about Gwenaëlle appears indefinably not-quite-right to your average human - a little too real, too vivid, like someone turned up the saturation on her - and recognizably of fey heritage to anyone who does realize what they're looking at. This is particularly apparent when she's in or near fresh water, enabling less fleeting glimpses of something not quite human. They're increasingly hard to dismiss - the pearlescent nature of her skin could have been a trick of the light, before, but in recent years as she's leaned into this side of her heritage, it's become stronger and she has become more visibly other, with her hair and eyes beginning to darken and take on an oddly bluish tinge and and her teeth a little sharper than they were before. Gwenaëlle is a fucking fairy, so let's talk about what that means:

influence
Through voice and music, Gwenaëlle is capable of influencing the people around her - but it's relatively specific, and functions more as persuasion (or a summoning) than any kind of ability to plant suggestions. She can make people want to act in a way that will please her right now, but she can't plant the idea that they will do so tomorrow. She's capable of a subtle kind of compelling when she speaks, a stronger variation if she's singing or playing an instrument, and it's stronger again if she does this in the water. None of this is impossible to resist, though the stronger it is the more dangerous, and her unconscious use of it typically influences a person into wanting to be near her. It is not, despite the connotations of "being a siren", an inherently sexual coercion; in great stress or danger, in fact, she has used it unconsciously to free herself by demanding that someone leave her alone immediately and they've found they're unable to disobey her. In Eudio, this will be weakened to the point of irrelevance and is not something she will be able to use consciously or unconsciously.

charisma
...because the fae are pretty magnetic, in general, and Gwenaëlle is no exception. 'Charisma' is, however, intensely subjective and in Gwenaëlle this magic edge presents subtly enough that maybe she's just nice to be around, who knows. Still; one on one, she's present, engaging, and there is a pull to her that's perceptible to the magically sensitive (who are often more likely to be able to resist it). This is nothing completely irresistible and some people will entirely fail to register it for one reason or another; it's nothing conscious and not something that she can "turn on" or "turn off" but rather an inherent part of what she is. In Eudio, this is dampened down thoroughly to prevent any inadvertent coercion.

glamour
While a fully fae member of Gwenaëlle's bloodline would be capable of shapeshifting, Gwenaëlle herself is only capable of the illusion of it. She can use illusion to extensively alter her appearance (if she wanted to impersonate a vampire, she could probably do it, including hiding her own pulse), but it is not a physical alteration. As further use of her magic and exposure to other fae augment her powers, she becomes more obviously magical in nature - a pearl sheen to her skin, her hair and eyes have begun darkening, she's beginning to stop aging - and she's begun using glamours to disguise this and continue to present herself as "more human" than she really is. She's also become capable of creating illusions independent of herself, but this is mostly limited to conjuring images in water.

water
It is physically impossible to drown her. Fresh water lends her strength, speeds her healing process and grounds her in herself; everything is better when she has steady access to a fresh water source, preferably a waterfall or a river, but a lake will do. She isn't bound to any one water-source, unlike some of her ancestors, but might well be in the future; she is becoming more and more fae as she explores more and more of what that means, and it's an increasingly long life-span stretched out in front of her. As she becomes more fae, also, she's tried to stop laughing quite so much as it begins, increasingly, to sound more like an odd watery gurgle - not an unpleasant sound, but odd if you're not expecting it.

music
As a result of her nature, the fact that Gwenaëlle is studying music is the laziest thing on earth; she can't not be good at this. Struggling to keep up with her course is a result of depressive episodes, stress and a dubious work ethic (she underestimated how much she can't coast on talent, good job), because it is simply her nature to be good at this - it's otherworldly, and her father's success as a musician has a lot to do with the intense experience that is witnessing him play. Gwenaëlle doesn't intend to go on as a performer; she chose to go into something that she knows she's good at because trying and potentially failing at something more challenging is a frightening possibility.

sensitivity
Sensitivity to magic / other faeries / etc; this is largely useless due to a lack of exposure for so long, so while in theory she might be able to become adept enough to not only recognize that a spell has been cast but also what spell and by who, her grasp of it is still developing and new and the sensitivity does not in and of itself tell her what it is, she needs to learn that. For example, if she met Remus Lupin and Severus Snape, she wouldn't immediately know one is a werewolf wizard and one is just a wizard: she would know that both of them resonate in a particular way, but only one resonates something else as well. If she then met Fenris Greyback, he would resonate in the same way as Remus Lupin; she would have to discover what the "something else" they both share that Severus Snape does not is by nosiness, not instinct.

The presence of other fae tends to react with her - drawing her own nature closer to the surface - and the 'too vivid' aspect of her appearance tends to be more noticeable there. She finds magic and in its presence in other people appealing - she'll seek them out instinctively, bond more readily to people in whom she senses that familiarity.

elemental magic
Gwenaëlle's magic is primarily water-based, and primarily fresh-water based; enchantments and spells that she can create are bound to water and concepts thereof - applying water metaphors to things she wants to achieve can help her achieve them, but her magic is still developing and unsteady and she can't do a lot of very impressive things with the exception of being able to travel via water-sources, as long as she knows where she's going. She can dive into a lake and emerge in a river halfway across the world, much the way her ancestor Aelfraed tends to get around.

weakness: iron
Being part-human, Gwenaëlle is not as susceptible to this as the true fae - but she can be bound with hand-forged iron, which is a) incredibly painful and b) liable to scar if left against her skin! Wounds inflicted by an iron weapon heal sluggishly and invariably scar, and are more likely to kill her.

weakness: cold-blooded
Gwenaëlle's body temperature is slightly lower than a human's should be; she can superficially warm up with exposure to heat, but generally tends to be noticeably a little cooler. The reason this is listed as a weakness is because she spent an amount of time in and out of doctors' offices as a child being tested for circulatory disorders - Emery eventually decided that since it had never hurt him and it didn't seem to be hurting her, fuck it, and let her be.

weakness: water
The lack of it literally saps her will to live. If kept away from a fresh water source for a prolonged period, Gwenaëlle will become melancholic and listless, uninterested in the world around her and mentally checking out. It won't actually kill her, but her mental state will get worse and not better until the situation is righted; she will typically find herself drawn to water sources of her own accord, and it tends to be a matter of how difficult it is to get there.

weakness: vampires
The fae are delicious - specifically, their blood has a narcotic, intoxicating effect that can be (but is not necessarily) addictive. A full blooded faerie would put a vampire on their ass (and also probably be a lot of hassle in the process), while someone like Gwenaëlle has a lessened impact - however, fae blood also functions as a kind of mystical roofie, reversing the typical expectation that a bite 'marks' someone, in this case, drinking a faerie's blood allows that particular faerie's magic to create their own bond with the vampire (allowing them to subvert a vampire's natural resistance to their influence, and giving them a reciprocal emotional link that also functions as a kind of homing beacon, as well as leaving a kind of mark of claim visible to other fae and those sensitive to their magic). Given they have to risk being murdered by a talking corpse to achieve this, it's not that appealing, as a general rule.

weakness: chemicals
So, speaking of: human alcohol hits the fae significantly harder - Gwenaëlle's tolerance is questionable, and does not progressively improve with more drinking over time, she will always be a bit of a cheap date. She gets tipsy fast, and if she paces herself she can stay that way for quite some time! It's not as bad, again, as it would be if she weren't part-human, but she's a talkative drunk and a sudden loquacious willingness to be forthcoming is generally a good indicator sobriety has excused itself.

While alcohol is definitely the most noticeable (and common), Gwenaëlle's body is hit harder by all drugs and chemicals and she has been obliged to be careful about what she puts into herself.

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visuals » fade rift

2016-05-09T08:12:36Z

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family » fade rift

2016-03-10T08:06:35Z

The late wife of Comte Vauquelin and the recognised legal mother of his heiress.

ANNEGRET VAUQUELIN
THE COMTESSE (DECEASED)

The current Comte Vauquelin, a romantic hedonist with an interest in philanthropy.

EMERIC VAUQUELIN
THE COMTE (57)

Also known as 'philanthropy'. The birth mother of Gwenaëlle, an elven servant from Halamshiral.

GUENIÈVRE BAUDIN
THE HOUSEKEEPER (42)

Younger brother to Emeric, mage, researcher; went missing during the rebellion, whereabouts unknown.

GERVAIS VAUQUELIN
THE ENCHANTER (46)

The son and heir of Lord Roux, and absolutely definitely no direct relation to ~~his father~~ Comte Vauquelin.

MARCELLIN ROUX
THE HEIR (21)

Lived in Halamshiral, supported by her mother and sister. Died in the fires set by Empress Celene's troops.

MAGALIE BAUDIN
THE HALF-SISTERS (DECEASED)

Worked in the Winter Palace as a maidservant. Survived Magalie briefly, killed by Celene's troops trying to get to her.

ALIX BAUDIN
THE HALF-SISTERS (DECEASED)

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permissions » fade rift

2016-03-09T21:52:48Z

☄ OOC

♚ BACKTAGGING: I will generally keep tagging threads for quite some time - my schedule means I'm not always tagging super fast during my work week, so I'm cool with slow tags by necessity - but as a rule of thumb I try not to be tagging anything further back than the previous AC cycle outside of special circumstances. But if I seem to have dropped a thread you were hoping to continue - please feel free to hit me up! If it's too old to continue, we can at least hash out where it might have gone or cannibalize the ideas for something new.
♚ FOURTHWALLING: Nah.
♚ THREADJACKING: I am totally cool with this and definitely do it myself - generally speaking anything I don't want threadjacked the characters will have marked private or whathave.

☄ IC

♚ PHYSICAL AFFECTION: Gwenaëlle is (maybe surprisingly???) very tactile and inclined towards casual physical affection/contact - from a person she's comfortable with / fond of / generally likes, she is likely to respond well to casual touch. She is also pretty OK with gentle PDA from people she's involved with.
♚ PHYSICAL VIOLENCE: Generally speaking please do not beat on the tiny noncombatant, but never say never. Give me a buzz if you think this is going to come up.
♚ RELATIONSHIPS: Bring me ur lesbians. With the caveat that Gwenaëlle expects to eventually marry and politick and have an heir, she is a young lady who is single and ready to mingle, so I'm down to see where things go with the ladies. Or the gentlemen, but ngl, I would definitely love to write a ladyship with her.

GET CODE HERE

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