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[battle_axe]

🦋 OOC Information

Name: Rosie
Contact: pineapplesoda on plurk
Age: 21+
Other Characters: N/A
Invitation: Here
Permissions: Here

🦋 IC Information

Character Name: Johanna Mason
Age: 21
Canon: Hunger Games
Canon Point: End of Catching Fire. She's been left behind in the arena and is captured by the Capitol
Character History: https://thehungergames.fandom.com/wiki/Johanna_Mason
Canon Abilities: Johanna is familiar with a range of weapons, including knives and guns. She's a fair shot with a gun. Her preferred weapon is an axe. She can wield it effectively, and is strong enough to throw it with enough force that she can wedge it into metal.
Johanna is efficient at hiding.
She's good at lying and acting and manipulating people into believing her.
She's good at climbing and is physically fit. She
Inventory: A knife, an axe and the bloodied wetsuit she was wearing in the arena.

🦋 Personality

Option 1: Answer the following questions. Elaborate on the answer, especially your characters thoughts and feelings surrounding the answer. For Canon Characters, you can choose four questions. For Original Characters, you will need to choose six questions. Keep the word count to 150-400 per question.

1. Has your character always believed in magic? Do they have something influencing their perspective on the supernatural/metaphysical/spiritual from their past? How do they feel about magic?


2. What mythological creature would your character most like to be? Which do they identify with? Which would they dread being? Feel free to use our Bestiary for reference.


3. If your character could ask for one wish, and it's going to be magically granted without any consequence, what will it be and why?


4. What song would a siren sing to your character to lure them closer? Why?


5. If there's one person your character would follow to another realm, who would it be and why? If there's no one, state that and explain why.


6. If you'd like pixies to change one event in your character's life, what would it be and why?


7. What is your character's most outstanding personality trait, and why?


8. Your character gets to return home, but when they do they learn that they've been gone for hundreds of years. How do they react?

Option 2:

• Green

Green is the canopy of the forests at home. It reminds Johanna of her childhood, before the Hunger Games became a reality of her life, whilst they were just a thing on television that happened each year. Green used to be safe. It was the forest. It was the smell of wet leaves and freshly cut trunks. It was the whir of factories and the endless bundling of fine paper that none of the Districts could ever afford.
Green is innocence.

Now, green is the Tribute parade, the Capitol, dressed as a mockery of a tree or a leaf, prancing for cameras and for people who will never know her. Green is solitude. Alone in the Capitol, misunderstood thanks to Snow's smear campaign, next to her public persona of an angry bitch that never has much nice to say. Pretence, falsities. Green is loneliness at home. It's the leaves that envelop her when she climbs a tree to avoid prying eyes. It's her hiding place when people question how she could have allowed her parents to die, why she had to be so argumentative. Green is comfort, a space to breathe and to be herself. To allow her time to read a book or - fuck if she knows. Just to dream. To think and to dream and to relax, away from the resentful Victor she's forced to play. Green is a fucking contradiction. No, sod it. Green is just another colour. It doesn't mean jack shit. It just is.


• Dead

Death has haunted Johanna since she was reaped for the Hunger Games, and even before, growing up in the shadow of the arenas. She's a capable, ruthless killer and has murdered several Tributes during both the 71st and 75th Games. On the surface, Johanna doesn't seem to feel any particular way about death. It's a fact of life, and in her opinion, it's better the other Tributes dead than herself. However, this nonchalance comes partially from her refusing to allow herself to think about what she's done and the lives she's taken. Johanna knows she caused pain and suffering but there's nothing she could have done to avoid it either, so she doesn't feel guilty.

Deaths that do affect Johanna more are those of her family. Though the novels don't go into much detail, Johanna reveals that her family were killed because of her rebellious nature. Many fans have speculated it was because she refused to be trafficked, although in an interview, Collins confirms that Johanna was a victim of trafficking alongside Finnick. Either way, her family were killed on Snow's orders, which has in turn grown Johanna's hatred of him. She allows it to fuel her rebellion and her acid tongue and it is probably one of the primary reasons she agreed to join the rebellion. It has allowed her to be more outspoken too, as Snow cannot break her spirit by threatening loved ones, as she has none left.

At her current canon point, Johanna wishes she's dead. She's been captured by the Capitol and she is fully aware of the torture that awaits her in the city. She probably has some idea that they will torture her for information, and when she realises that she alone out of the captured Victors knows the plan, she'll also realise that torture for information will focus on herself over Annie or a Career. She'll want to be dead so as not to have to experience the electric shocks but also so that she cannot give away information about the rebellion. Despite her prickly nature, Johanna is incredibly loyal. She was willing to give her life to the rebellion, and for Katniss, whether by dying in the arena, or being executed in the Capitol. Even at the end, during the last fight with Brutus and Enobaria, Johanna risks her life to lead them away from Katniss. We know from 'Mockingjay' too that Johanna is extensively tortured in the Capitol, and still refuses to divulge the rebellion's plans, demonstrating her intense loyalty, bravery and determination.



• Friendly

Johanna struggles with being friendly. In fact, her only known friend in the franchise is Finnick.
Confirmed by Collins, Johanna was trafficked as a Victor, and this sexual abuse, alongside the murder of her family and potentially old friends ('There is no one left that I love') has made her keep people at harms length. She has developed an acerbic personality, and is quick to offer insulting nicknames and derogatory comments over friendship. She doesn't want people to like her because then they cannot be used or harmed to hurt Johanna in return. Without friends, Snow has very little control over Johanna and in an odd way, she's found her freedom in that.

At the same time though, Johanna seems to regret not having anyone. She's despondent when she confides in Katniss that she has no one. She's lonely. It reflects in the lack of personal items that Johanna possesses (nothing). She's resentful too, when Katniss tells her that Johanna would have made the better Mockingjay. Johanna responds by telling Katniss that she has the public vote. Nobody likes Johanna and therefore wouldn't rebel for her. There are so many parallels between the two women, but it is their friendships that set them apart. Katniss is surrounded by love, and it allows her to love and to eventually start to heal. Johanna is alone, and she lets her anger fester to bitterness.


• Dance

For Johanna, 'dance' is never soft. If she's forced to dance a literal dance, it's all stomps and abrupt stops. She refuses to follow the rhythm and refuses to be led by a partner.
However, dance means something much deeper than a waltz or a tango. It means a performance.
Johanna has been 'performing' since the Reaping. She decided to play stupid and weak so that everyone would forget about her. She waited, she watched. She let them underestimate her until it was too late. For her, her arena dance was all about controlled misdirection. I headcanon that she hid in the trees, observing her opponents, their fighting styles, their weak points, their cache of weapons and she formulated a plan. She waited until most were dead or separated and built her own collection of weapons by stealing from the dead or sleeping. And only when she was sure she could win did she strike. Even her killing is a performance, a dance. Set steps. Circle, bait into striking, verbal sparring, manipulate the timing. Feint and counter and finish them off. It's not romantic. She wouldn't think of it thus. But there's a rhythm to it that she acknowledges and almost allows her to think clinically about it. She knows the next move. It keeps her safe.

She takes this into the Capitol with her, following their carefully choreographed dance through her Victory Tour and even through being trafficked until she knows well enough the moves. It's then that she starts to refuse, starts to alter the mood with an extra step or a look in the wrong direction. She rebels openly, but not enough to cause a complete upset or revolution. She controls herself, unlike her film counterpart who shouts and screams. Johanna knows that she's always being watched and she makes sure that her own moves are perfectly timed to create the biggest impact possible. She doesn't give in to her anger. Instead, she lets it feed her and it makes her strike so much more powerful when she chooses to.

In the end, like everything to do with Johanna, the idea of dance comes down to autonomy. She realises she's pretty powerless against the Capitol, her real enemy. She, like everyone else, is swept up in their spectacle and their game and their dance. She can't escape it by herself. All she can do is upset the rhythm a tiny bit, to make people stumble and think twice about her, and to control her image within the machine.


• Pride

Johanna at her core is proud. It's a defence, it's razor edged and honestly, it's completely self destructive.

Johanna is the very epitome of 'save your tears for the pillow'. She refuses to let people see her break, not because she can't break, but because she refuses to let it belong to someone else. The Capitol have tried to break her. When they killed her family, they expected submission and fear. Instead, they got defiance. She refused to surrender because that's what they wanted, and truly, what more could they do to her, except kill her outright, which wouldn't happen. It's not rebellion or hope. It's pride. They can control the situation but they cannot control her reaction. This is why a lot of Johanna's moves are surprising, and she doesn't react as one might expect. She subverts expectations because she wants to control her reaction.

Johanna also hates pity and again this is fed by her pride. Pity makes her feel small and exposed. It feels condescending. So she attacks it. She responds with mockery, cruelty or sarcasm. Her pride refuses to allow her to be fragile. She would rather be hated and misunderstood and be called cruel than be seen as broken. If she gives in, she sees it as losing the one part of herself that she truly owns.

In contrast though, Johanna's pride is her downfall. She's isolated and lonely because of it. She refuses comfort and friendship, she mocks vulnerability and she rejects softness because accepting it means admitting damage, which means admitting defeat. She's lonely because of it, and that again feeds her bitterness. Pride causes her pain too. In 'Mockingjay', we learn that she refused to give in to torture, and across all of the captives, suffered the most because of it. She refuses to acknowledge her fear and her pain, turning it into acidic jibes and venomous remarks. It's pride that refuses her to give in, even in the safety of 13.

Katniss is a victim of Johanna's pride too. The girls are foils to one another, so similar and yet so incredibly different, and it's Katniss' grounding in love that saves her from becoming Johanna. Johanna resents Katniss because she is loved and liked. Johanna, mostly by her own doing, is neither. It's because of Katniss' popularity in the Districts and the Capitol that she becomes the 'Mockingjay' over Johanna, though Johanna feels she is the better fighter and has paid dues longer and harder than Katniss. Johanna knows she deserves to be the face of the rebellion, because hasn't she waged a personal rebellion for years anyway? It fuels her bitterness towards Katniss and the injustice of it all makes her pride bristle. She's jealous. She wants her suffering to be known, and yet, she's pushed into the background and made to follow somebody else's lead and suffer again for somebody else's image.

She's proud of what she's been though and pride refuses to let her acknowledge out loud that the person she's become isn't exactly the best outcome. She thinks she's right. Always. At least, out loud.

🦋 Fae Court

List your top three choices for your characters adoptive court. The mods will choose the one out of those three options that seems the most fitting based on your app.

• Dusk


• Dawn


• Day

(These aren't in order of appropriateness!)

Ability: Do you want your character to gain the ability of their court? (Delete the other two options.)
3) Yes, but they either have no ability of their own, or they refuse to trade theirs away; they will buy their court's ability on credit.

🦋 RP Samples

https://pixieledmemes.dreamwidth.org/2765.html?thread=8159181#cmt8159181