Blemmigan
Illusion is eternity. Machines will live forever.
1x1 because I suck at group RPs, woooo!
I wanted this post to be short and concise, but it got away from me. Which may also describe my RP style.
A couple of things first that might be important to you:
Word salad:
Unsettling things. Monsters, robots, aliens and things which are not quite right, but not as villains. Anachronisms, old-fashioned settings. Post-apocalyptic: ruined worlds and scavenging. Corrupt, fragile power hierarchies. Ugly/marred characters and unnerving, parasitic or broken things. Magic, superhuman abilities, poorly-understood technology from an advanced but lost civilisation. Mixing up common tropes and plots by putting them in a different time or place, or adding supernatural to the mundane. Exploration. Remote (or floating) islands or distant planets, and the vast unknown, whether it be across sea or space. Hard-working people in hard times. Junk shops and scavengers, thieves and pirates. Things rusting, overgrown and forgotten.
Enough waffling. On to another, better kind of waffling.
Plots!
I've a few settings, each of them with at least one rough plot.
If it's fandoms you're hoping for, here is a list! Most are games, now that I look at it. Uh oh.
They're really more to give an idea of the kind of aesthetic/worlds/plot concepts I'm into writing about, but if you want to do an RP based on any of them, then ask away!
That said, I'm not really looking to RP with canon characters.
I can write on here (PM or thread) or Discord. Or both.
Interested in any of these? Had an idea sparked by these settings, fandoms or the word salad above? Got an OC lined up and ready? Send me a PM!
There are a few other plots I have that I didn't add (either too lengthy or too niche), but if you sound they'd suit you I may bring them up!
Please don't post here unless you're unable to PM yet (in which case say so and I'll message you).
Soo... send me a PM with the settings/plots/themes you like and where you'd want to take them! Let me know if you want to exchange writing samples! I'm using too many exclamation marks! Send help!
I wanted this post to be short and concise, but it got away from me. Which may also describe my RP style.
A couple of things first that might be important to you:
- My time zone is UCT+1 (BST)
- I'm 30, and really only want to 1x1 with people aged 20+.
- I tend towards third person, past tense.
- For my post length, it varies. Which isn't a useful thing to say, but is at least the truth. So really it depends on your preferences: I can definitely waffle, especially if it's a role play that gets in-depth about the world and circumstances, and honestly I'd rather have a bit of waffle, but can also definitely appreciate that sometimes there's not much to say. Or sometimes you just want to write a bit of quick and easy nonsense for the hell of it. Get the plot moving.
- Likewise, how often I respond depends on what's going on, how long the post will be, and whether I've been struck by inspiration. Usually ranges from a couple of times a day to a couple of times a week.
- I like fantasy and sci-fi, of all flavours!
- Not so keen on modern/realistic settings, or plots based purely around romance. The latter as aspects of other plots, sure. I'm gradually trying to get more (good) experience with writing romance/pairings.
- If you're keen on having a pairing, I'd rather it be M/M or M/F, and I don't mind which gender I play.
- Again, I'll play any gender. Most of my active characters right now are male/masculine, but that's not any kind of rule, just how it turned out.
- I don't use images for my characters... but that's just because I can't draw. And I tend to have an image of the character first before I start. I can try and find an image to represent them if it's absolutely required, but... I'd rather just describe them
and wish I knew how to hold a pencil.
- Get invested in the plot and want to world-build/discuss stuff and bring your own ideas into it. If you find you don't care about it, then please let me know, and we can either drop it or just do totally-low-effort-guilty-pleasure-nonsense writing. Just don't let me keep replying to something you don't care about. We'd both feel like idiots.
- Give me something to respond to and build on.
- Talk to me about your character/s. Okay, this isn't essential, especially if you don't want to do much OOC. But I like hearing about people's characters and all the effort that goes into them :v
- Write in third person, with multiple sentences, dialogue in quotation marks and basically not in actions-in-asterisks style.
- Don't use small font. It... is difficult to read. Please take pity on me.
- Send me a PM if you're interested!
Word salad:
Unsettling things. Monsters, robots, aliens and things which are not quite right, but not as villains. Anachronisms, old-fashioned settings. Post-apocalyptic: ruined worlds and scavenging. Corrupt, fragile power hierarchies. Ugly/marred characters and unnerving, parasitic or broken things. Magic, superhuman abilities, poorly-understood technology from an advanced but lost civilisation. Mixing up common tropes and plots by putting them in a different time or place, or adding supernatural to the mundane. Exploration. Remote (or floating) islands or distant planets, and the vast unknown, whether it be across sea or space. Hard-working people in hard times. Junk shops and scavengers, thieves and pirates. Things rusting, overgrown and forgotten.
Enough waffling. On to another, better kind of waffling.
Plots!
I've a few settings, each of them with at least one rough plot.
- Characters A and B are listed, but I'm a fan of having all kinds of (side) characters as well.
- I've no preference for which character I'd go for in any of these.
- Note: if you want to introduce romance, then it'd have to be MxM, or MxF (or FxM, if that's a different thing)
- The plots are suggestions! If you are inspired to do something else with the settings, or something entirely different that you think I'd be interested in, let me know!
General setting:
The City is big enough to not have a name. To almost every citizen, it's the entire world: wide buildings are crammed so close together that the alleyways between them are often like mazes, with walls of rain-slicked concrete. Rusted catwalks weave in and out of doors or broken windows, zigzagging all the way down to the ground below. Bottom to top, the city is a gradient of wealth: the ground itself is wreathed in fumes or flooded with water. Above it is the domain of gangs, hackers, violence and addiction. Even midway up, the smell of burning plastic and waste mixes with cheap food and ozone. The buildings taper gradually at the higher floors, sprouting balconies and terraces, open areas with restaurants, parks and fresher air. And right at the apex, above the clouds in some places, are the rooftops. Enormous houses in real sunlight, white stone, glass and metal, vast private gardens and pools and cocktail parties, helicopters and gliders. A wealthy person could live their whole life up here without even wondering if there even was a city a few storeys down, with security tight enough that they would never need to find out.
All good citizens of the City have a "crux", a microchip implanted in their temple, tracking their location, keeping the right doors locked, updating with any accusations of criminal activity, use of illegal narcotics, or attempts to tamper with a crux. Of course, people do, although even suspicion of this is grounds for punishment, with the assumption that trying to hack one's crux is trying to hide heinous criminal activity. After all, for most a crux is just another, often useful part of life: it can store images and data from memories, grant access to homes and workplaces, contact friends, provide legitimacy and an alibi, monitor health and adjust hormone and medication levels. Most people seem unbothered that all of this information is also available to those who run the City, who themselves are a nebulous group only represented by proxies: people who liaison with the police, businesses and elite, and speak with the government's voice.
Suggested plots:
"Overlay":
A is a police officer in the City on the trail of a notorious hacker in the lower tiers, a place low enough that most officers would fear to go there. But A is either overconfident or determined to make this arrest. They find the hacker in a meeting with B, with whom he has joined forces. B had the loyalty of the hacker, the two of them using his talents to dig into the hierarchy and structure of the city, searching for somebody concrete in charge who can be a target. They both have been syphoning funds and cloning cruxes to fund their work and find sympathisers, which drew the attention of the police. The arrest goes wrong, and the hacker is killed, with A only surviving when a fellow officer arrives to drag them out of the riot that breaks out, and B is left devastated and furious.
A slowly recovers, and soon realises that they are experiencing blackouts and lapses in memory. Over time this is interspersed with memories and desires which are not their own: the now-dead hacker managed to upload their own crux data into A's, using A's eyes and ears to gain information from the police and the police's government proxy, taking over A just enough to send the information away. They could warn their superiors, but they are not only in possession of a corrupted crux, but they have been infiltrating the police and sending information to an unknown party.
B meanwhile is unaware of the plan their dead friend put into place, whether they planned for this to happen or whether it was some kind of failsafe. But they realise that they're still being helped, and their motivation to carry out their plans is now fuelled by revenge. As more time passes, A finds themselves with knowledge and memories not their own, as well as their past friendships and life. They could turn themselves in, knowing that there is no way to prove their innocence, or they could return to B to try and undo the sabotage they've unwittingly taken part in, even as these new memories and desires to help the revolutionaries start to take root.
"Outside":
What is outside the City? A is one of the rooftop elite, warned since they were young about the dangers of the lower tiers and the people who live there: all insane, or criminal, or full of hatred for A for what they have. But dreaming of outside the City has never been forbidden, even as they are never let out of sight of their family, the security of their home, or the drone which follows them everywhere. A manages to get hold of a crux blocker they believe is temporary and slips away, almost getting shot down by the very security systems designed to keep them safe. Of course they have no real idea of how the majority of the City lives until they're forced to encounter it, and that they're seen as an unperson without a working crux.
B is a scavenger and petty criminal, who has never heard of anyone trying to get out of the City before. Those on the lower tiers spend their time looking up, so maybe it makes sense that those who can't rise higher end up looking somewhere else. B offers to help A: either get their crux working so they can return to the rooftops, or keep them safe as they try to get out of the City. Whether it be out of the kindness of their own heart, promise of payment, or some other reason.
Or we could hash out an entirely different plot in this (or a similar) setting.
e.g. What goes on in the lives of the rooftop elites? What if someone from the lower tiers finds their way in? What would happen if all technology in the City stops working? What if there was a virus which spread between people's cruxes?
The City is big enough to not have a name. To almost every citizen, it's the entire world: wide buildings are crammed so close together that the alleyways between them are often like mazes, with walls of rain-slicked concrete. Rusted catwalks weave in and out of doors or broken windows, zigzagging all the way down to the ground below. Bottom to top, the city is a gradient of wealth: the ground itself is wreathed in fumes or flooded with water. Above it is the domain of gangs, hackers, violence and addiction. Even midway up, the smell of burning plastic and waste mixes with cheap food and ozone. The buildings taper gradually at the higher floors, sprouting balconies and terraces, open areas with restaurants, parks and fresher air. And right at the apex, above the clouds in some places, are the rooftops. Enormous houses in real sunlight, white stone, glass and metal, vast private gardens and pools and cocktail parties, helicopters and gliders. A wealthy person could live their whole life up here without even wondering if there even was a city a few storeys down, with security tight enough that they would never need to find out.
All good citizens of the City have a "crux", a microchip implanted in their temple, tracking their location, keeping the right doors locked, updating with any accusations of criminal activity, use of illegal narcotics, or attempts to tamper with a crux. Of course, people do, although even suspicion of this is grounds for punishment, with the assumption that trying to hack one's crux is trying to hide heinous criminal activity. After all, for most a crux is just another, often useful part of life: it can store images and data from memories, grant access to homes and workplaces, contact friends, provide legitimacy and an alibi, monitor health and adjust hormone and medication levels. Most people seem unbothered that all of this information is also available to those who run the City, who themselves are a nebulous group only represented by proxies: people who liaison with the police, businesses and elite, and speak with the government's voice.
Suggested plots:
"Overlay":
A is a police officer in the City on the trail of a notorious hacker in the lower tiers, a place low enough that most officers would fear to go there. But A is either overconfident or determined to make this arrest. They find the hacker in a meeting with B, with whom he has joined forces. B had the loyalty of the hacker, the two of them using his talents to dig into the hierarchy and structure of the city, searching for somebody concrete in charge who can be a target. They both have been syphoning funds and cloning cruxes to fund their work and find sympathisers, which drew the attention of the police. The arrest goes wrong, and the hacker is killed, with A only surviving when a fellow officer arrives to drag them out of the riot that breaks out, and B is left devastated and furious.
A slowly recovers, and soon realises that they are experiencing blackouts and lapses in memory. Over time this is interspersed with memories and desires which are not their own: the now-dead hacker managed to upload their own crux data into A's, using A's eyes and ears to gain information from the police and the police's government proxy, taking over A just enough to send the information away. They could warn their superiors, but they are not only in possession of a corrupted crux, but they have been infiltrating the police and sending information to an unknown party.
B meanwhile is unaware of the plan their dead friend put into place, whether they planned for this to happen or whether it was some kind of failsafe. But they realise that they're still being helped, and their motivation to carry out their plans is now fuelled by revenge. As more time passes, A finds themselves with knowledge and memories not their own, as well as their past friendships and life. They could turn themselves in, knowing that there is no way to prove their innocence, or they could return to B to try and undo the sabotage they've unwittingly taken part in, even as these new memories and desires to help the revolutionaries start to take root.
"Outside":
What is outside the City? A is one of the rooftop elite, warned since they were young about the dangers of the lower tiers and the people who live there: all insane, or criminal, or full of hatred for A for what they have. But dreaming of outside the City has never been forbidden, even as they are never let out of sight of their family, the security of their home, or the drone which follows them everywhere. A manages to get hold of a crux blocker they believe is temporary and slips away, almost getting shot down by the very security systems designed to keep them safe. Of course they have no real idea of how the majority of the City lives until they're forced to encounter it, and that they're seen as an unperson without a working crux.
B is a scavenger and petty criminal, who has never heard of anyone trying to get out of the City before. Those on the lower tiers spend their time looking up, so maybe it makes sense that those who can't rise higher end up looking somewhere else. B offers to help A: either get their crux working so they can return to the rooftops, or keep them safe as they try to get out of the City. Whether it be out of the kindness of their own heart, promise of payment, or some other reason.
Or we could hash out an entirely different plot in this (or a similar) setting.
e.g. What goes on in the lives of the rooftop elites? What if someone from the lower tiers finds their way in? What would happen if all technology in the City stops working? What if there was a virus which spread between people's cruxes?
General setting:
This setting is a desert wasteland, with towns that cling to its edges like animals around a watering hole. Harsh winds blow across it, and both water and life are scarce. But people travel across it in sand-ships, huge sails catching the winds and the vessels skimming across the sands. They make a living by ferrying customers from one side of the desert to another or transporting goods, though some of them are driven almost entirely by the joy of sailing. Others will form gangs of fast, light crafts, surrounding the larger sand-ships to either board them or force them to stop, stealing money, goods or important passengers.
Nobody stops in the desert at night. That is when the dead wander the dunes, their strong dead fingers tearing apart ships and their captains. Even now, ships will sometimes go missing. And even the pirates of the wasteland fear the dead.
"An oasis of ghosts":
A had a loved one who went missing in the desert and they have made it their mission to search for them or evidence of what happened. They have enlisted B for this, the captain of a small boat, and pay them to take them to the most dangerous yet commonly-travelled parts of the desert to look for wreckage, or to the different towns to ask about this missing person.
1) B grows frustrated with A and their constant obsession with their lost loved one, talking about nothing else and insisting on doubling back through these dangerous places on a whim, which could destroy the sand-ship and kill them both. A withholds payment, and when they finally admit there is no more money they begin insulting and demanding that B carry on, and that they will not leave the boat the next time they dock. Furious, B steers with deliberate sharpness, enough for A to fall out of the ship. They soon feel guilty and turn back to find them, but the night is closing in.
2) They are both better people than that, and B not only feels sorry for A but continues to help them even when the money runs out, keeping them on board as they take other jobs, the two of them growing closer as time goes on. Of course, this doesn't mean that disaster doesn't strike: an attack by pirates leaves them unable to sail, stranded in the middle of nowhere. And A is certain that one of the pirates they half-glimpsed is their missing loved one. They set off on foot in the direction of the enemy craft, leaving B with no option but to follow, with their vague knowledge that there is a grand hideout deep in the desert, a towering structure the different pirate gangs call home, and entirely off limits to outsiders.
This setting is a desert wasteland, with towns that cling to its edges like animals around a watering hole. Harsh winds blow across it, and both water and life are scarce. But people travel across it in sand-ships, huge sails catching the winds and the vessels skimming across the sands. They make a living by ferrying customers from one side of the desert to another or transporting goods, though some of them are driven almost entirely by the joy of sailing. Others will form gangs of fast, light crafts, surrounding the larger sand-ships to either board them or force them to stop, stealing money, goods or important passengers.
Nobody stops in the desert at night. That is when the dead wander the dunes, their strong dead fingers tearing apart ships and their captains. Even now, ships will sometimes go missing. And even the pirates of the wasteland fear the dead.
"An oasis of ghosts":
A had a loved one who went missing in the desert and they have made it their mission to search for them or evidence of what happened. They have enlisted B for this, the captain of a small boat, and pay them to take them to the most dangerous yet commonly-travelled parts of the desert to look for wreckage, or to the different towns to ask about this missing person.
1) B grows frustrated with A and their constant obsession with their lost loved one, talking about nothing else and insisting on doubling back through these dangerous places on a whim, which could destroy the sand-ship and kill them both. A withholds payment, and when they finally admit there is no more money they begin insulting and demanding that B carry on, and that they will not leave the boat the next time they dock. Furious, B steers with deliberate sharpness, enough for A to fall out of the ship. They soon feel guilty and turn back to find them, but the night is closing in.
2) They are both better people than that, and B not only feels sorry for A but continues to help them even when the money runs out, keeping them on board as they take other jobs, the two of them growing closer as time goes on. Of course, this doesn't mean that disaster doesn't strike: an attack by pirates leaves them unable to sail, stranded in the middle of nowhere. And A is certain that one of the pirates they half-glimpsed is their missing loved one. They set off on foot in the direction of the enemy craft, leaving B with no option but to follow, with their vague knowledge that there is a grand hideout deep in the desert, a towering structure the different pirate gangs call home, and entirely off limits to outsiders.
General setting:
The island is relatively small, surrounded by a perilous sea, with only one settlement known simply as Shore. A huge tower dominates the place, its top reaching into the clouds, and from this location is run an experiment spanning generations. The inhabitants of Shore are the subjects of it, living in a lawless place where survival of the fittest is key, their every move observed by those in the tower. Every time a baby is born, the guards take it away, raising it, testing it, and releasing the child (should it survive) back on the streets a couple of years later.
There are only three rules. The first: all newborns are to be taken shortly after birth. The second: The tower is off-limits on threat of death. The third: Do not resist the guards. Trivial things like theft and murder are for the people to sort out amongst themselves. Even the occasional revolution is usually left to run its course, though if it shows signs of being too troublesome the guards will neutralise those responsible. Even escape from the island is not explicitly banned, and every now and then some fool will build a raft to try it. But the sea beyond the ring of coral is rough and stormy with no end in sight, compared to Shore which never has any weather worse than a polite fall of rain. So far, nobody has been known to survive their escape. The splinters and bones wash up eventually on the beach.
It's an environment that punishes the weak and challenges the strong. And every inhabitant of Shore develops a supernatural gift by the time they reach their teenage years, a Talent that depends on the life they've lived and hardships they've faced until that point. They also, soon after, develop a Fault: a weakness or setback of an equally supernatural nature. In most cases, the most powerful the Talent, the worse the Fault. The hope of those in the tower is to create somebody with a great Talent but a negligible Fault, and every year they hold an event known as a Lifeboat. Everyone over a certain age is eligible to apply and take part in a series of tests (physical, mental, supernatural), and those who pass all of them will ascend the tower to a place where (it is promised) they will live as the next stage in human evolution.
"Caelum":
The most obvious plot would be that A and B are both residents of Shore, who survive together with their Talents, and help each other with their Faults. When the Lifeboat event comes around, both may apply for it, determined to keep helping each other so that they can both get through the tests and ascend together.
Alternatively, A is a resident of Shore, and B is one of the guards who shows undue favouritism to them. A may be using B for the leniency/supplies/etc they can get from them, and B may be risking their job and safety by doing this (they are, after all, without a Talent or the experience of surviving alone in Shore should they need to).
This is one where I like the setting (and have written too much about it, more than I could post here), but... I really fall down on the plot |:
So if you want to go for something in this setting then I'd definitely need your help to develop it!
The island is relatively small, surrounded by a perilous sea, with only one settlement known simply as Shore. A huge tower dominates the place, its top reaching into the clouds, and from this location is run an experiment spanning generations. The inhabitants of Shore are the subjects of it, living in a lawless place where survival of the fittest is key, their every move observed by those in the tower. Every time a baby is born, the guards take it away, raising it, testing it, and releasing the child (should it survive) back on the streets a couple of years later.
There are only three rules. The first: all newborns are to be taken shortly after birth. The second: The tower is off-limits on threat of death. The third: Do not resist the guards. Trivial things like theft and murder are for the people to sort out amongst themselves. Even the occasional revolution is usually left to run its course, though if it shows signs of being too troublesome the guards will neutralise those responsible. Even escape from the island is not explicitly banned, and every now and then some fool will build a raft to try it. But the sea beyond the ring of coral is rough and stormy with no end in sight, compared to Shore which never has any weather worse than a polite fall of rain. So far, nobody has been known to survive their escape. The splinters and bones wash up eventually on the beach.
It's an environment that punishes the weak and challenges the strong. And every inhabitant of Shore develops a supernatural gift by the time they reach their teenage years, a Talent that depends on the life they've lived and hardships they've faced until that point. They also, soon after, develop a Fault: a weakness or setback of an equally supernatural nature. In most cases, the most powerful the Talent, the worse the Fault. The hope of those in the tower is to create somebody with a great Talent but a negligible Fault, and every year they hold an event known as a Lifeboat. Everyone over a certain age is eligible to apply and take part in a series of tests (physical, mental, supernatural), and those who pass all of them will ascend the tower to a place where (it is promised) they will live as the next stage in human evolution.
"Caelum":
The most obvious plot would be that A and B are both residents of Shore, who survive together with their Talents, and help each other with their Faults. When the Lifeboat event comes around, both may apply for it, determined to keep helping each other so that they can both get through the tests and ascend together.
Alternatively, A is a resident of Shore, and B is one of the guards who shows undue favouritism to them. A may be using B for the leniency/supplies/etc they can get from them, and B may be risking their job and safety by doing this (they are, after all, without a Talent or the experience of surviving alone in Shore should they need to).
This is one where I like the setting (and have written too much about it, more than I could post here), but... I really fall down on the plot |:
So if you want to go for something in this setting then I'd definitely need your help to develop it!
General setting:
Victorian/Edwardian England style, though I'm not going for historical accuracy so much as the vibe/aesthetic. Bonus points if we can write in a vague approximation of the era's literary style (I will be bad at this. If you enjoy accuracy, I can only apologise that this won't be what you're after). Perhaps it's not the same time or place, but something which coincidentally has a lot in common with it.
For this particular plot fragment, the setting is (I know) the old cliché of the old-timey travelling circus. Overall the troupe is are seen as odd or suspicious by outsiders, and they tend not to be welcome in the local pubs or venues, so most of the time they don't risk it and keep to themselves. Whether they are all actually supernatural or not will depend on what direction we take.
"A Curiosity"
A is part of the circus show. They have their own act, as well as pulling their weight to keep the thing running, and they've been part of this thing for a good while now. One day B is introduced to the others: they were purchased by the showrunner to add to the cast and are, for all and appearances, a supernatural monster. What kind of monster can vary- a merfolk in a tank, a terrifying-looking ghoul, a curse victim or troll for others to gawk at. They're considered unable to talk and possibly unsapient, and none of the regular cast is sure what they're meant to do with them. A, for whatever reason, is not particularly frightened or impressed by B (perhaps sympathetic), and ends up being the one to "handle" them, checking up on them and, perhaps eventually, realising that they are very much intelligent and capable of speech after all.
B may be manipulating A's sympathy in order to escape or exact revenge, or they may be genuine but still with plans of their own, whether that be escape/revenge or to try and lead a more human life (particularly if they once were). Whether A continues to help them or is scared once they find out their plans may just depend on what ends up happening.
The "circus" thing would just be one way to go the supernatural-creature route. I also like the idea of more rural settings: fishing villages, lone cottages, countryside doctors. Or urban high society or eccentric scientists. Add a bit of bizarre (or horror) to the picturesque but mundane. Particularly if most people involved aren't alarmed, but rather find it distasteful or vaguely annoying.
Victorian/Edwardian England style, though I'm not going for historical accuracy so much as the vibe/aesthetic. Bonus points if we can write in a vague approximation of the era's literary style (I will be bad at this. If you enjoy accuracy, I can only apologise that this won't be what you're after). Perhaps it's not the same time or place, but something which coincidentally has a lot in common with it.
For this particular plot fragment, the setting is (I know) the old cliché of the old-timey travelling circus. Overall the troupe is are seen as odd or suspicious by outsiders, and they tend not to be welcome in the local pubs or venues, so most of the time they don't risk it and keep to themselves. Whether they are all actually supernatural or not will depend on what direction we take.
"A Curiosity"
A is part of the circus show. They have their own act, as well as pulling their weight to keep the thing running, and they've been part of this thing for a good while now. One day B is introduced to the others: they were purchased by the showrunner to add to the cast and are, for all and appearances, a supernatural monster. What kind of monster can vary- a merfolk in a tank, a terrifying-looking ghoul, a curse victim or troll for others to gawk at. They're considered unable to talk and possibly unsapient, and none of the regular cast is sure what they're meant to do with them. A, for whatever reason, is not particularly frightened or impressed by B (perhaps sympathetic), and ends up being the one to "handle" them, checking up on them and, perhaps eventually, realising that they are very much intelligent and capable of speech after all.
B may be manipulating A's sympathy in order to escape or exact revenge, or they may be genuine but still with plans of their own, whether that be escape/revenge or to try and lead a more human life (particularly if they once were). Whether A continues to help them or is scared once they find out their plans may just depend on what ends up happening.
The "circus" thing would just be one way to go the supernatural-creature route. I also like the idea of more rural settings: fishing villages, lone cottages, countryside doctors. Or urban high society or eccentric scientists. Add a bit of bizarre (or horror) to the picturesque but mundane. Particularly if most people involved aren't alarmed, but rather find it distasteful or vaguely annoying.
If it's fandoms you're hoping for, here is a list! Most are games, now that I look at it. Uh oh.
They're really more to give an idea of the kind of aesthetic/worlds/plot concepts I'm into writing about, but if you want to do an RP based on any of them, then ask away!
That said, I'm not really looking to RP with canon characters.
Bioshock
Deadman Wonderland
Dishonored
Fallen London
Heaven's Vault
H.G. Wells (his scientific romances in general)
His Dark Materials
Hollow Knight
Iconoclasts (game)
Mortal Engines (Philip Reeve books)
Neverwhere
No Man's Sky
Observation (game)
The Old Kingdom (Garth Nix books)
Prey (2017 game)
Railhead (Philip Reeve books)
SCP Foundation
Subnautica
Subsurface Circular
Sunless Sea
Sunless Skies
Torchwood
The Witcher
Also, aside from those ~aesthetics~
Digimon & Pokémon
Because.... yeah I'll do an RP about OCs who are pokémon trainers or digimon tamers... I can't resist |:
Deadman Wonderland
Dishonored
Fallen London
Heaven's Vault
H.G. Wells (his scientific romances in general)
His Dark Materials
Hollow Knight
Iconoclasts (game)
Mortal Engines (Philip Reeve books)
Neverwhere
No Man's Sky
Observation (game)
The Old Kingdom (Garth Nix books)
Prey (2017 game)
Railhead (Philip Reeve books)
SCP Foundation
Subnautica
Subsurface Circular
Sunless Sea
Sunless Skies
Torchwood
The Witcher
Also, aside from those ~aesthetics~
Digimon & Pokémon
Because.... yeah I'll do an RP about OCs who are pokémon trainers or digimon tamers... I can't resist |:
I can write on here (PM or thread) or Discord. Or both.
Interested in any of these? Had an idea sparked by these settings, fandoms or the word salad above? Got an OC lined up and ready? Send me a PM!
There are a few other plots I have that I didn't add (either too lengthy or too niche), but if you sound they'd suit you I may bring them up!
Please don't post here unless you're unable to PM yet (in which case say so and I'll message you).
Soo... send me a PM with the settings/plots/themes you like and where you'd want to take them! Let me know if you want to exchange writing samples! I'm using too many exclamation marks! Send help!
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