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Rewriting it...

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T H E P U N I S H E R
T H E P U N I S H E R

"All I wanted was to leave that life behind, but I am too valuable to be left alone."
C H A R A C T E R P O R T R A I T
C H A R A C T E R P O R T R A I T
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C H A R A C T E R S U M M A R Y
C H A R A C T E R S U M M A R Y
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James McCall Pierce
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Caucasian | Vigilante | Former ARGUS operative
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Los Angeles | California | United States of America

C H A R A C T E R N O T E S
C H A R A C T E R N O T E S
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P O S T C A T A L O G
P O S T C A T A L O G
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C H A R A C T E R C O N C E P T
C H A R A C T E R C O N C E P T
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At the ripe age of eighteen, James Pierce was forced to join the United States Army or be forced to live in the streets of New York City. Boot camp was a breeze for him and that caught the attention of his superiors. It was only a year of being a private before he found himself enrolled as a test subject in a classified medical experiment. There were rumors, of course, that the government was attempting to perfect the long-lost super soldier serum. Regardless, Pierce survived the experiment and became a significant intel operator before being transferred over to ARGUS at the request of its director.

But then, he fell in love and wanted an out. It was earned after months of sweat and blood conducting his final assignment with ARGUS. Amanda Waller upheld the promise and granted her operative a brand new life in Southern California.

P L O T ( S ) & G O A L ( S )
P L O T ( S ) & G O A L ( S )
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Why do you want to play this character, what is the driving motivation behind both this desire and the character themselves. What do you hope to accomplish and where do you want the character's story/stories to go? For a driving character, there should be enough of an outline present to interest other players along with specifications towards how many players you're looking to involve or available roles. For supporting characters, this should indicate either a plot you've arranged to be part of or the type of plot you're looking to be involved in. Roaming characters have the privilege of doing either or simply stating a roadmap for the character to exemplify how you'd ideally like them to move between plots.




BLUEJAY
Afterlife, Watson
A Dreadful Joint


Afterlife never honestly got the attention of Silvain because it was dreadfully tedious of a bar. And it had the ideal aesthetic—a morgue for the legends of Night City—but lacked the favour seen in other clubs and bars. There was only business and no excitement. Still, the client was waiting for her heavily edited braindance to be delivered. Silvain did not want to end up on the client's 'shit list' and be found lying in a ditch on the outskirts of town. Plus, it took unduly long to revise that BD for him to be a backstabber.

Making his way down the stairs and into the entrance of Afterlife, Silvain approaches the bouncer guarding the double doors. "Here to see a client that goes by 'Eddie.'"

"Another one?" the bouncer was surprised upon hearing the name but moved aside without hassle. "Go on down to the crypt and wait with the others."

Silvain made way inside the bar and instantly groaned at the soulless ambiance. So to fix that, he needed a goddamn drink. The bartender seemed friendly enough to take down orders and share a word or two. Then, she greeted him and asked for the order. A David Martinez with a dash of cinnamon to give it an extra kick. And after that, there wasn't much to do other than head on down to the crypt. It was your average meeting room with none of the exciting elements. Hell, it made him start missing the rest of Afterlife.

There were others in the room, just like the bouncer said earlier. But instead of engaging with them, Silvain went over to an empty spot on the long couch and sat down. He then pulled out his phone and sent a quick text over to Eddie's number before playing on it to avoid talking to the others. He took a sip of his drink on occasion without looking away from his phone. And there also was the sporadic chuckle upon reading something funny from one of his many social media accounts across the net.

arrived with the bd. waiting for you to explain the detes, ma'am.


I might bring back Lucas then (I'm still debating on him still having metamorph or a different power entirely), if that's alright.
<Snipped quote by Mao Mao>

You were in the last one homie

oh my god. i just realized that lol (I'm a little embarrassed ngl)
man, its been three years already???
I will try to put something together because this totally reminds me of Chronicle and I love the film.


UNITED STATES OF AMERICA
Summer 1955
A Warm Welcome

Frontier Service Station, Welch (WV)
"Schlafe, mein Prinzchen, schlaf ein,
Schäfchen ruhn und Vögelein,
Garten und Wiese verstummt,
auch nicht ein Bienchen mehr summt..."

Emerson cherished his mother singing "Sleep, my little prince, fall asleep" even when her voice was not quite captivating. When he asked about it out of the blue, she told him that it was a prominent lullaby used throughout the German Empire during the Great War gifted by her dying grandmother, who encouraged her to flee to America as their home country was beginning to unravel. Even after Emerson got older, his mother still hummed the lullaby while preoccupied with chores around the house. It also bought her solace during the months of uncertainty in the wake of the failed coup in the nation's capital.

And now, the lullaby was etched into oblivion.

"...Luna mit silbernem Schein
gucket zum Fenster herein,
schlafe bei silbernem Schein,
schlafe, mein Prinzchen, schlaf ein,
schlaf ein, schlaf ein!"

Gradually waking up from his unanticipated slumber, Emerson noticed his hands were bound against a metal pole of a large shelf. His attempts of breaking free only hurt with the rope rubbing against his skin. It wasn't that complicated to believe that the "kind" cashier did this to him. And considering that he came on to her too strong with the question, Emerson didn't hold any grudge against the cashier for protecting her brother—which seemed significant enough to harm someone. Suddenly, he heard the storefront door opening followed by an argument between two people. One of the voices was clearly the cashier's as the other was entirely unfamiliar to Emerson.

And then, in front of Emerson, the door slowly opened to reveal a much younger man still in his work uniform. It was clear the stranger worked for the nearby mining company since coal dust coated his uniform from head to toe. All of that dust made it nearly difficult for Emerson to notice the company patch on the miner's right shoulder confirming his assumption. It admittedly was intimidating to witness such a muscular man approaching but he didn't hide his concerned gaze—something that caught Emerson entirely off-guard. The miner got down on one knee and began untying the restraints while glancing at the head for any signs of injuries. "At least you aren't bleedin'. You alright?"

"Y-yes." Emerson responded as his hands were freed from the metal pole but still remained wary of the warm reception. It was how his family managed for so long.

The miner got up and then offered his hand to the now freed Emerson. "I wanna apologize for my sis and her... firm swing, Mr. Henzel."

"You know me?" Emerson asked directly. "Then, you must be Gilbert Hensley."

Gilbert nodded. "That yellow truck isn't exactly concealed in a town like this, sir. Just like an elephant walking down main street. But even then, I was told you were coming down sometime this week."

Emerson accepted the offer and got up from the cold wooden floor with some assistance. He quickly noticed the cashier from a distance, staring at both men, before walking away to the other side of the service station. She was still uneased by the whole circumstance even if she did a poor job of hiding it. But there wasn't time to explore the tension. Gilbert began making his way to the back exit and reached for the door handle. He opened the door and then turned to the truck driver. "We ought to leave for the area now. Pinkertons will begin their evening patrols soon as the sun's down for the day. And trust me, they're a fucking headache to deal with."

Gilbert and Emerson made their way outside of the building and turned to notice two Pinkertons leaning against their assigned 1949 Ford Fordor, which was parked in front of the moving truck. It had the insignia of the private security and detective agency—a navy blue simplification of an unblinking human eye staring straight with the bottom left slightly cut off to look like a searchlight beam—standing out against the cream white paint job. There was an audible sigh coming from Gilbert as he immediately recognized one of the officers. That officer stopped leaning against the car and approached them with a wide grin on his face.

"'They're a fucking headache to deal with.' Come on, boy, that isn't a way to treat an officer of the law—especially around a stranger."


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