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Jun. 13th, 2013 06:13 pmPLAYER
» Journal:![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
interiordesign
» Birthdate/Age: August 1990.
» Characters Played: n/a.
CHARACTER FACTS
» Name: James Bond
» Canon: Skyfall (Bond Films)
» Reference: Plot, yo.
» Canon Point: The end of the film.
» Gender: Male.
» Age: 45.
CHARACTER INTERPRETATION
» Appearance: James Bond is a fairly fine specimen of proper British upbringing. At just shy of six feet tall and about as athletic as one would expect someone who habitually jumps onto moving trains, beats the crap out of groups of men who outnumber him four to one, runs blocks in London within a few minutes, dodges exploding tube trains, and rides elevators the hard way should be, he – as these examples would indicate – has lots of opportunities for personal health maintenance. He has dirty blond hair, typically kept rather short, and ridiculously, "those must be photoshopped", Elijah-Wood-blue eyes.
» Suitability: n/a
» Orientation: Heterosexual. Bond is only ever seen throughout the course of his twenty-three films to date expressing interest in women, typically in a rather womanizing fashion – i.e. to the point of "Bond Girls" being a thing. While Craig!Bond is a little less so in this respect than some former versions of the character, he is still only shown with any uncoerced flirtation directed solely towards women. There's a throwaway line in Skyfall with an overly theatrical, metrosexual villain who is intimating a potential gay romp between the two of them, to which Bond implies that might not be his first time. However, there is no evidence of this, nor is there evidence that suggests he would have done this for any sort of personal reasons. James Bond is just about as heterosexually attracted to women as they come.
» Personality:
It is almost as easy to describe James Bond by what he is as it is to describe him by what he is not. While he exists in a world of shadows and grey areas, he is himself typically an odd combination of whites and blacks that occasionally looks like grey and occasionally doesn't and manages to never be whichever one you think it is from a distance.
Bond is driven, either highly motivated or completely lost, with rarely a state in between. When he is sacrificed for the potential greater good, falling to what should have been by all accounts at least the second major threat to his life within ten seconds, he loses himself almost entirely. He stays hidden, plays dead on an island and earns his drinking money by winning drinking games. It's not a bad life, all told, complete with companionship and the anonymity that only death can offer, a beautiful place and none of the death and pain that come of his usual line of work. ("Murder." "Occupation.") It should be healing, should be a balm, and yet he drinks constantly. He leaves instantly when he sees that MI6 has been compromised, and returns home to do his duty. He returns, and moves almost directly into action, and almost immediately back in the field he looks better, happier.
This is because Bond's primary state of being is within movement. He doesn't do well sitting still, typically prefers to instigate something or put himself in the middle of things to just staying back and watching them unfold. His is the sort of spying that is covert through its overtness. When he intercepts a payment made to an assassin, rather than simply tracing it, getting the information and moving on with that, he simply goes to cash it in himself. It alerts everyone involved to there being something amiss – not that they wouldn't have learned anyway, eventually – but it puts him at the centre of attention, allowing him to continue to call the shots as he can.
In addition to being motivated and driven, Bond has a high love of country. It's not particularly difficult when one has effectively nothing else to be attached to. M tells him that "Orphans make the best recruits", and rather than refute the notion, he simply gives her a bitterly amused acknowledgement. It's simple, and brilliant, and highly manipulative, and nothing that he can or wants to feel negatively about, because it also happens to be true. The love of one is replaced by love of the other, and while it isn't likely that he would have been entirely directionless without it, it is obvious that he would be much less of a person without his experiences within the Royal Navy and MI6 as a whole. James Bond is, after so many years of service, what he does. He does it well, he does it willingly, but it's because he doesn't have anything else.
Despite his years spent watching horrible things happen, seeing what people are capable of – not just negatively but positively as well – Bond maintains a hardened realism. While he doesn't think that things will always work out, doesn't assume that there won't be losses along the way, he refuses to allow more than are necessary, and tries to save any that he can. He nearly loses his target trying to save his fellow agent, Ronson, knowing that the backup that will save the other man will arrive too late, willing to make the sacrifice of the objective to try and save his life. However, he listens to the more pragmatic orders he is given and does leave him there. The list he is tracking will save several more, and he's aware of that, he just hates the choice, evidenced later by the slightly accusatory tone to his words when he confirms that Ronson did indeed die of his injuries. Bond typically remains hopeful, but doesn't bother sugar-coating his own perspective of things.
SAMPLES
At least one sample MUST demonstrate your character's feelings about or reactions to sex!
» First Person Sample Choice: (you MUST note which prompt you are answering)
» Third Person Sample Choice: (you MUST note which prompt you are answering)
» Journal:
interiordesign» Birthdate/Age: August 1990.
» Characters Played: n/a.
CHARACTER FACTS
» Name: James Bond
» Canon: Skyfall (Bond Films)
» Reference: Plot, yo.
» Canon Point: The end of the film.
» Gender: Male.
» Age: 45.
CHARACTER INTERPRETATION
» Appearance: James Bond is a fairly fine specimen of proper British upbringing. At just shy of six feet tall and about as athletic as one would expect someone who habitually jumps onto moving trains, beats the crap out of groups of men who outnumber him four to one, runs blocks in London within a few minutes, dodges exploding tube trains, and rides elevators the hard way should be, he – as these examples would indicate – has lots of opportunities for personal health maintenance. He has dirty blond hair, typically kept rather short, and ridiculously, "those must be photoshopped", Elijah-Wood-blue eyes.
» Suitability: n/a
» Orientation: Heterosexual. Bond is only ever seen throughout the course of his twenty-three films to date expressing interest in women, typically in a rather womanizing fashion – i.e. to the point of "Bond Girls" being a thing. While Craig!Bond is a little less so in this respect than some former versions of the character, he is still only shown with any uncoerced flirtation directed solely towards women. There's a throwaway line in Skyfall with an overly theatrical, metrosexual villain who is intimating a potential gay romp between the two of them, to which Bond implies that might not be his first time. However, there is no evidence of this, nor is there evidence that suggests he would have done this for any sort of personal reasons. James Bond is just about as heterosexually attracted to women as they come.
» Personality:
It is almost as easy to describe James Bond by what he is as it is to describe him by what he is not. While he exists in a world of shadows and grey areas, he is himself typically an odd combination of whites and blacks that occasionally looks like grey and occasionally doesn't and manages to never be whichever one you think it is from a distance.
Bond is driven, either highly motivated or completely lost, with rarely a state in between. When he is sacrificed for the potential greater good, falling to what should have been by all accounts at least the second major threat to his life within ten seconds, he loses himself almost entirely. He stays hidden, plays dead on an island and earns his drinking money by winning drinking games. It's not a bad life, all told, complete with companionship and the anonymity that only death can offer, a beautiful place and none of the death and pain that come of his usual line of work. ("Murder." "Occupation.") It should be healing, should be a balm, and yet he drinks constantly. He leaves instantly when he sees that MI6 has been compromised, and returns home to do his duty. He returns, and moves almost directly into action, and almost immediately back in the field he looks better, happier.
This is because Bond's primary state of being is within movement. He doesn't do well sitting still, typically prefers to instigate something or put himself in the middle of things to just staying back and watching them unfold. His is the sort of spying that is covert through its overtness. When he intercepts a payment made to an assassin, rather than simply tracing it, getting the information and moving on with that, he simply goes to cash it in himself. It alerts everyone involved to there being something amiss – not that they wouldn't have learned anyway, eventually – but it puts him at the centre of attention, allowing him to continue to call the shots as he can.
In addition to being motivated and driven, Bond has a high love of country. It's not particularly difficult when one has effectively nothing else to be attached to. M tells him that "Orphans make the best recruits", and rather than refute the notion, he simply gives her a bitterly amused acknowledgement. It's simple, and brilliant, and highly manipulative, and nothing that he can or wants to feel negatively about, because it also happens to be true. The love of one is replaced by love of the other, and while it isn't likely that he would have been entirely directionless without it, it is obvious that he would be much less of a person without his experiences within the Royal Navy and MI6 as a whole. James Bond is, after so many years of service, what he does. He does it well, he does it willingly, but it's because he doesn't have anything else.
Despite his years spent watching horrible things happen, seeing what people are capable of – not just negatively but positively as well – Bond maintains a hardened realism. While he doesn't think that things will always work out, doesn't assume that there won't be losses along the way, he refuses to allow more than are necessary, and tries to save any that he can. He nearly loses his target trying to save his fellow agent, Ronson, knowing that the backup that will save the other man will arrive too late, willing to make the sacrifice of the objective to try and save his life. However, he listens to the more pragmatic orders he is given and does leave him there. The list he is tracking will save several more, and he's aware of that, he just hates the choice, evidenced later by the slightly accusatory tone to his words when he confirms that Ronson did indeed die of his injuries. Bond typically remains hopeful, but doesn't bother sugar-coating his own perspective of things.
SAMPLES
At least one sample MUST demonstrate your character's feelings about or reactions to sex!
» First Person Sample Choice: (you MUST note which prompt you are answering)
» Third Person Sample Choice: (you MUST note which prompt you are answering)
