Memery (while doing laundry).
Comment to this post and I will give you 5 subjects/things I associate you with. Then post this in your LJ and elaborate on the subjects given.
transtempts asked me about:
Lucifer (any and all aspects of the comic)
The first issues of Lucifer I read were #14-20, collected in A Dalliance with the Damned, meaning that I came into the story mid-way, and it was before I had read Lucifer's part in Sandman. The year was 2004. The trade opens with Mazikeen's story: a demon who looks like a beautiful woman, but who would rather look like herself; a fighter who never quits; a leader in conflict with her brothers (and how odd that, of all of the Lilim whose names we know, only Mazikeen is female). She is my favourite character in Lucifer lore, with Lucifer and Elaine close seconds. A strong, independent, sensual female character who - in blatant defiance to easy feminist readings - chooses a life of service and devotion, out of love. A Knight Templar whose object of worship is the devil himself. Her relationship with the Lightbringer goes through many movements. She is his most loyal soldier, his valued second-in-command, his consort (never his lapdog). In strength of will, if not in natural ability, she is his equal. In the final issues, she becomes his heir - wife/daughter/son, all in one - a grand gesture that she did not want or need. All she wanted was him. They are my OTP of OTPs.
I never sympathised with the character of Christopher Rudd or had much interest in his storyline (he annoys me for the same reason that Felix Gaeta did in later seasons of BSG), but I loved every other part of Lucifer.
Sark
A reviewer once made the interesting comment on one of my Sark-centred stories that my reading of the character was existentialist. And not coincidentally, my favourite depiction of Sark in fan fiction is Rez's "In Tenebris", parts of which read almost like an existentialist play. He is a secondary character given a few grounding motivations for existence that canon is continually trying to take away from him: his freedom, his faith in Irina, his desire to raise himself from his present circumstance. But his capacity to recover from betrayal and bend and remake himself is somehow brave and ultimately very sympathetic. Sark never gives in to moralising or judging others. I think he's determined to live life to the fullest. Fact is, Sark (and Sark/Sydney writers) is the reason that I joined LJ in the first place.
Adam Monroe
Give me a character who is immortal, who has lived for a very long time, to whom the consequentialist ethics seem kind of irrelevant (or just plain wrong), add to him a history of living in the East, and dare me not to write about him. Adam becomes variously the hedonistic vampire; the Zen ascetic; the whisper of temptation; the jaded wanderer; the force of destruction and change; the actor trying on many roles. Like a volcano quiet and dormant for centuries, we only really see Adam at the point where he explodes on the show; that his action leading up to his death vilify him is too narrow an outlook. Age does not necessarily mean wisdom, but I think Adam is someone who has experienced a sort of enlightenment. Whether you think he's right or wrong, evil or misguided, he's a fascinating POV character. I could go on about his imprisonment and surgical revenge, the passive-aggressive nature of his powers, the effects on the soul that being put through the fire and the pain again and again has... Canon gave us those things, and I suppose no matter how far the show has gone down the drain, I'm grateful for that.
Eric Northman
If I had to choose between book!Eric and show!Eric, it would be: Alexander Skarsgard, ALL THE TIME. Nothing against romance novels, but I do not buy their idealised love interests as real, complex, integrated people any more than I buy your typical Bond girls as women with successful professional lives outside of their dalliances with Bond. Or it could just be that fandom (with all its Eric-apologists) has spoiled me for book!Eric. In any case, I prefer Eric as (what some viewers of the show called him) a bit of a bastard.
My Eric does not sentimentally carry around a thousand year old sword from his human days. Not just because the amount of sharpening that tenth century iron would have needed to maintain its edge would probably have reduced it to scattered atoms by now (I went looking for the Viking-age exhibits when I was at the British Museum specifically to answer this question), but because it isn't pragmatic. It's something that Eric would drop at a moment's notice if he had to. He wouldn't think it necessary to cling to relics of his past. "We are our own monuments," the vampire Herrick says in the original Being Human pilot. Eric does not need props to aggrandize him. He carries his past in himself, a walking slice of history in a t-shirt and jeans, and he's all the more impressive for it.
Lucas North
Adam Carter's area of specialty was the Middle East, Lucas' is Russia. Like the Cold War put on ice, he's literally "brought out of the cold" at the moment that the Western powers have started to view Russia with suspicion once again. (I wonder if the zeitgeist will ever drive Spooks to having a China expert.)
He has the name - the first "Lucas" I loved in fiction was Lucas Corso, and I named my iPod after him.
He has the tattoos.
He has the angst-ridden backstory.
And he's played by the chiselled-yet-fragile-looking Richard Armitage. Really, and you don't understand why the fangirls are going nuts?
transtempts asked me about:
Lucifer (any and all aspects of the comic)
The first issues of Lucifer I read were #14-20, collected in A Dalliance with the Damned, meaning that I came into the story mid-way, and it was before I had read Lucifer's part in Sandman. The year was 2004. The trade opens with Mazikeen's story: a demon who looks like a beautiful woman, but who would rather look like herself; a fighter who never quits; a leader in conflict with her brothers (and how odd that, of all of the Lilim whose names we know, only Mazikeen is female). She is my favourite character in Lucifer lore, with Lucifer and Elaine close seconds. A strong, independent, sensual female character who - in blatant defiance to easy feminist readings - chooses a life of service and devotion, out of love. A Knight Templar whose object of worship is the devil himself. Her relationship with the Lightbringer goes through many movements. She is his most loyal soldier, his valued second-in-command, his consort (never his lapdog). In strength of will, if not in natural ability, she is his equal. In the final issues, she becomes his heir - wife/daughter/son, all in one - a grand gesture that she did not want or need. All she wanted was him. They are my OTP of OTPs.
I never sympathised with the character of Christopher Rudd or had much interest in his storyline (he annoys me for the same reason that Felix Gaeta did in later seasons of BSG), but I loved every other part of Lucifer.
Sark
A reviewer once made the interesting comment on one of my Sark-centred stories that my reading of the character was existentialist. And not coincidentally, my favourite depiction of Sark in fan fiction is Rez's "In Tenebris", parts of which read almost like an existentialist play. He is a secondary character given a few grounding motivations for existence that canon is continually trying to take away from him: his freedom, his faith in Irina, his desire to raise himself from his present circumstance. But his capacity to recover from betrayal and bend and remake himself is somehow brave and ultimately very sympathetic. Sark never gives in to moralising or judging others. I think he's determined to live life to the fullest. Fact is, Sark (and Sark/Sydney writers) is the reason that I joined LJ in the first place.
Adam Monroe
Give me a character who is immortal, who has lived for a very long time, to whom the consequentialist ethics seem kind of irrelevant (or just plain wrong), add to him a history of living in the East, and dare me not to write about him. Adam becomes variously the hedonistic vampire; the Zen ascetic; the whisper of temptation; the jaded wanderer; the force of destruction and change; the actor trying on many roles. Like a volcano quiet and dormant for centuries, we only really see Adam at the point where he explodes on the show; that his action leading up to his death vilify him is too narrow an outlook. Age does not necessarily mean wisdom, but I think Adam is someone who has experienced a sort of enlightenment. Whether you think he's right or wrong, evil or misguided, he's a fascinating POV character. I could go on about his imprisonment and surgical revenge, the passive-aggressive nature of his powers, the effects on the soul that being put through the fire and the pain again and again has... Canon gave us those things, and I suppose no matter how far the show has gone down the drain, I'm grateful for that.
Eric Northman
If I had to choose between book!Eric and show!Eric, it would be: Alexander Skarsgard, ALL THE TIME. Nothing against romance novels, but I do not buy their idealised love interests as real, complex, integrated people any more than I buy your typical Bond girls as women with successful professional lives outside of their dalliances with Bond. Or it could just be that fandom (with all its Eric-apologists) has spoiled me for book!Eric. In any case, I prefer Eric as (what some viewers of the show called him) a bit of a bastard.
My Eric does not sentimentally carry around a thousand year old sword from his human days. Not just because the amount of sharpening that tenth century iron would have needed to maintain its edge would probably have reduced it to scattered atoms by now (I went looking for the Viking-age exhibits when I was at the British Museum specifically to answer this question), but because it isn't pragmatic. It's something that Eric would drop at a moment's notice if he had to. He wouldn't think it necessary to cling to relics of his past. "We are our own monuments," the vampire Herrick says in the original Being Human pilot. Eric does not need props to aggrandize him. He carries his past in himself, a walking slice of history in a t-shirt and jeans, and he's all the more impressive for it.
Lucas North
Adam Carter's area of specialty was the Middle East, Lucas' is Russia. Like the Cold War put on ice, he's literally "brought out of the cold" at the moment that the Western powers have started to view Russia with suspicion once again. (I wonder if the zeitgeist will ever drive Spooks to having a China expert.)
He has the name - the first "Lucas" I loved in fiction was Lucas Corso, and I named my iPod after him.
He has the tattoos.
He has the angst-ridden backstory.
And he's played by the chiselled-yet-fragile-looking Richard Armitage. Really, and you don't understand why the fangirls are going nuts?