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pullshimback Out of Character Information
player name: Emi
player journal:sweetjerry
playing here: Yuui/Fai D Flourite
where did you find us? YOUR MOM
are you 16 years of age or older?: Yes
character name: Charlotte Beatrix Marie Rhody Wyndam
Fandom: Berserk
Timeline: Volume 10, page 222, after she passes out from exhaustion, probably due to her body fighting the poison.
character's age: 17
powers, skills, pets and equipment: No powers, no skills unless you count such things as singing, embroidering, dancing, courtly manners… the whole princess set. Oh, and she’s a passable actress when the situation calls for it.
In Anatole I would like her to develop the power to make specific things “magnetic” towards each other. That is to say, she can make two objects – or people, or an object and a person, etc – have a strong attraction between each other. That is, not a sexual or romantic one, a purely physical force. Which, regrettably, sounds rather bad as well. But she will with some practice be able to attach any number of items for each other very strongly over a period of time – although the attraction will fade over a couple of days, or if she decides to “turn it off”. It’s possible to pull these objects away from each other, but they will always be tugged lightly toward each other no matter how long the distance between them – and she might be able to make it so that it’s very hard to pull them apart with time.
This of course opens for opportunities for climbing walls and the like, but it’s not certain she’ll think of it unless in a situation where she needs it.
canon history: The first time Charlotte meets the recently knighted Griffith, he lends her a hand as she trips – which would probably cause her to fall down a flight of stairs – subsequently causing Count Julius to shout at him for touching her. He apologizes politely, causing Julius to look like a shouty fool and Griffith like the pinnacle of nobility. That in combination with his startling looks probably made for a very lasting first impression.
The next time they meet, he distracts her from her discomfort at the royal hunt by teaching her how to whistle with leaves, and then continues to save her as her horse bolts, also causing her bear witness to a failed assassination attempt on her savior. And that night, he takes her aside during a ball to speak to her under the moonlight about high-flying dreams and ideals. No wonder she gets infatuated with him almost instantly.
(That is also the night that Guts assassinates Count Julius and in the process also his son Adonis, who according to his father was one day going to marry Charlotte.)
When he then leaves for the front lines, she entrusts him with a lodestone pendant which she got from her mother. She herself keeps the other one, the female lodestone, hoping that it will pull him back to safety quickly. He says he can’t accept such a gift, and promises her that he’ll be back to return it to her. Her stepmother then scolds her for it, and it appears as if the two have a strained and somewhat cold relationship, probably because she is the child of the King’s first marriage, and he still favors his dead wife over her. She was also the mistress of Count Julius, and hates Griffith since she rightly suspects him for his death.
Charlotte also waits for Griffith after the storming of Doldrey Castle, and tries to catch his attention both at the victory parade and at the ball in his and the Hawk’s honor. When Griffith feigns being murdered, she falls to the floor in shock and horror, fainting. When she wakes up, she finds out that her stepmother has been murdered.
A month later, when Guts leaves the Hawks, Griffith shows up outside her window, soaked to the bone and broken. She lets him in, clearly trusting him without a single doubt, and even though he is wet and cold she throws herself into his arms. She hasn’t talked to or met with him for half a year, then, and has been worried for his safety all this time. She asks him why he didn’t come sooner, and instead of answering he kisses her. She returns the kiss, only protesting briefly when he pushes her onto the bed, but after that she is clearly not unwilling. She is seduced, and isn’t aware that one of the maids is watching through the keyhole, and runs to alert the king. She wakes up later to find him gone, but he has left the lodestone pendant and a flower for her.
After that, Griffith is captured by the King’s guard. The King himself goes to see if it is true, tearing away her blanket and finding bloodstains on her sheet. Griffith is then brought into a dungeon and the King himself whips him for his crime. He then accuses the King, saying that the reason he hasn’t allowed Charlotte to be betrothed yet is because he wants her for himself. That later turns out to be true, as he attempts to rape her. She fights him off, but from that moment is unsafe and alone in the castle, as she can no longer recognize him as her father. After that, she works to find out where Griffith is held, somehow getting in contact with what remains of the Band of the Hawk to stage a rescue mission.
During the mission, she insists on following them, and only when she is hit by a poison dart as she throws herself in front of Griffith, does she allow herself to be led back and cured. But only against a promise that he will return to her.
personality: When Charlotte is introduced, her father says that she is uncomfortable with the harsh presence of warriors, and so she almost never leaves the castle. She is introduced and shy, fragile and sheltered, too withdrawn to even properly greet Griffith when her father calls her to him, instead ducking around a pillar, lowering her head as she passes him. She is sensitive, disliking the brutality of both the royal hunt and of war, unable to understand why men seemingly delight in such things.
And it is indeed true that she is very sheltered, handled with silken gloves by a doting father, and she is also only sixteen. With the naivety one would expect from such a creature, she gives her heart fully and unconditionally to Griffith after only a few encounters, swept away by a dream where he is the noble knight and she his princess. She doesn’t seem to at all understand the political games happening around Griffith, or her own very important role in his climb towards power.
But it soon also becomes apparent that while her heart is young and trusting, her experience of the world limited to what lies within the castle walls, within her a core of steel is hiding. When assaulted by her father, she fights him off three times, and in the end he flees to lick his wounds after she has kicked him in the face. And instead of falling to self-pity and despair after this, she instead makes sure to find out where Griffith is captured and helps the Hawks arrange a rescue mission. It is true that she clings to the idea of Griffith as her light in the darkness, but she shows extraordinary adaptability and strength for someone so young and sheltered while doing so.
She fools the guards that come across the band of rescuers that she is merely on a moonlit stroll, exhibiting resourcefulness in a kind of situation which she must never have encountered before. And when told by Casca that she has to go back to the castle, she resorts to the only method she has to get her will through. She throws a tantrum. It should be noted here, though, that it is clearly a calculated act so that she may follow, and she goes so far as to think that if Griffith says she can’t go, she’ll simply scream her head off again.
She also has a far more open mind and heart than one would expect from someone like her. When faced with the devastation that has been done to Griffith, even as he has been turned into an unmoving, unspeaking creature as frail as a newly hatched bird, she doesn’t shy away from him for a second. Rather the opposite, she clings to him, walking next to him with a protective hand on him, and as they flee through the sewers she hikes up her skirts to be able to run faster, thinking that she will give up every comfort of her life as long as she is able to stay with him.
As a final test of her mettle, she doesn’t hesitate for an instant before letting herself be hit by a poison dart meant for him, and even then refuses to leave her side until he promises he will return. And on her return to her father, still weak from the poison, she at first pleads for the life of the servant girl she dragged with her, and then for her father to let Griffith go, saying that he has surely been punished enough.
So while she is still naïve of a lot of the ways of the world, and utterly blind to anything but goodness and nobility from Griffith, she shows herself to be far from helpless, and while exhibiting much of the foolish behavior one would expect from someone so young and so sheltered – again, most particularly when it comes to Griffith – she is not unintelligent either, and she can think quickly on her feet. She shows herself to be kind, compassionate and understanding, and Casca notes to herself that she notices none of the haughtiness and coldness she has come to expect from nobles in her. She doesn’t even seem very bothered by Guts’ far from courtly manners, even allowing him to carry her during the rescue mission – although she flinches when he grabs her and shouts at her after the hunt, and is scared by him after seeing him in battle.
So in conclusion, she is far stronger than anyone would expect her to be, albeit still shaped by her sheltered upbringing.
player name: Emi
player journal:
sweetjerryplaying here: Yuui/Fai D Flourite
where did you find us? YOUR MOM
are you 16 years of age or older?: Yes
In Character Information
character name: Charlotte Beatrix Marie Rhody Wyndam
Fandom: Berserk
Timeline: Volume 10, page 222, after she passes out from exhaustion, probably due to her body fighting the poison.
character's age: 17
powers, skills, pets and equipment: No powers, no skills unless you count such things as singing, embroidering, dancing, courtly manners… the whole princess set. Oh, and she’s a passable actress when the situation calls for it.
In Anatole I would like her to develop the power to make specific things “magnetic” towards each other. That is to say, she can make two objects – or people, or an object and a person, etc – have a strong attraction between each other. That is, not a sexual or romantic one, a purely physical force. Which, regrettably, sounds rather bad as well. But she will with some practice be able to attach any number of items for each other very strongly over a period of time – although the attraction will fade over a couple of days, or if she decides to “turn it off”. It’s possible to pull these objects away from each other, but they will always be tugged lightly toward each other no matter how long the distance between them – and she might be able to make it so that it’s very hard to pull them apart with time.
This of course opens for opportunities for climbing walls and the like, but it’s not certain she’ll think of it unless in a situation where she needs it.
canon history: The first time Charlotte meets the recently knighted Griffith, he lends her a hand as she trips – which would probably cause her to fall down a flight of stairs – subsequently causing Count Julius to shout at him for touching her. He apologizes politely, causing Julius to look like a shouty fool and Griffith like the pinnacle of nobility. That in combination with his startling looks probably made for a very lasting first impression.
The next time they meet, he distracts her from her discomfort at the royal hunt by teaching her how to whistle with leaves, and then continues to save her as her horse bolts, also causing her bear witness to a failed assassination attempt on her savior. And that night, he takes her aside during a ball to speak to her under the moonlight about high-flying dreams and ideals. No wonder she gets infatuated with him almost instantly.
(That is also the night that Guts assassinates Count Julius and in the process also his son Adonis, who according to his father was one day going to marry Charlotte.)
When he then leaves for the front lines, she entrusts him with a lodestone pendant which she got from her mother. She herself keeps the other one, the female lodestone, hoping that it will pull him back to safety quickly. He says he can’t accept such a gift, and promises her that he’ll be back to return it to her. Her stepmother then scolds her for it, and it appears as if the two have a strained and somewhat cold relationship, probably because she is the child of the King’s first marriage, and he still favors his dead wife over her. She was also the mistress of Count Julius, and hates Griffith since she rightly suspects him for his death.
Charlotte also waits for Griffith after the storming of Doldrey Castle, and tries to catch his attention both at the victory parade and at the ball in his and the Hawk’s honor. When Griffith feigns being murdered, she falls to the floor in shock and horror, fainting. When she wakes up, she finds out that her stepmother has been murdered.
A month later, when Guts leaves the Hawks, Griffith shows up outside her window, soaked to the bone and broken. She lets him in, clearly trusting him without a single doubt, and even though he is wet and cold she throws herself into his arms. She hasn’t talked to or met with him for half a year, then, and has been worried for his safety all this time. She asks him why he didn’t come sooner, and instead of answering he kisses her. She returns the kiss, only protesting briefly when he pushes her onto the bed, but after that she is clearly not unwilling. She is seduced, and isn’t aware that one of the maids is watching through the keyhole, and runs to alert the king. She wakes up later to find him gone, but he has left the lodestone pendant and a flower for her.
After that, Griffith is captured by the King’s guard. The King himself goes to see if it is true, tearing away her blanket and finding bloodstains on her sheet. Griffith is then brought into a dungeon and the King himself whips him for his crime. He then accuses the King, saying that the reason he hasn’t allowed Charlotte to be betrothed yet is because he wants her for himself. That later turns out to be true, as he attempts to rape her. She fights him off, but from that moment is unsafe and alone in the castle, as she can no longer recognize him as her father. After that, she works to find out where Griffith is held, somehow getting in contact with what remains of the Band of the Hawk to stage a rescue mission.
During the mission, she insists on following them, and only when she is hit by a poison dart as she throws herself in front of Griffith, does she allow herself to be led back and cured. But only against a promise that he will return to her.
personality: When Charlotte is introduced, her father says that she is uncomfortable with the harsh presence of warriors, and so she almost never leaves the castle. She is introduced and shy, fragile and sheltered, too withdrawn to even properly greet Griffith when her father calls her to him, instead ducking around a pillar, lowering her head as she passes him. She is sensitive, disliking the brutality of both the royal hunt and of war, unable to understand why men seemingly delight in such things.
And it is indeed true that she is very sheltered, handled with silken gloves by a doting father, and she is also only sixteen. With the naivety one would expect from such a creature, she gives her heart fully and unconditionally to Griffith after only a few encounters, swept away by a dream where he is the noble knight and she his princess. She doesn’t seem to at all understand the political games happening around Griffith, or her own very important role in his climb towards power.
But it soon also becomes apparent that while her heart is young and trusting, her experience of the world limited to what lies within the castle walls, within her a core of steel is hiding. When assaulted by her father, she fights him off three times, and in the end he flees to lick his wounds after she has kicked him in the face. And instead of falling to self-pity and despair after this, she instead makes sure to find out where Griffith is captured and helps the Hawks arrange a rescue mission. It is true that she clings to the idea of Griffith as her light in the darkness, but she shows extraordinary adaptability and strength for someone so young and sheltered while doing so.
She fools the guards that come across the band of rescuers that she is merely on a moonlit stroll, exhibiting resourcefulness in a kind of situation which she must never have encountered before. And when told by Casca that she has to go back to the castle, she resorts to the only method she has to get her will through. She throws a tantrum. It should be noted here, though, that it is clearly a calculated act so that she may follow, and she goes so far as to think that if Griffith says she can’t go, she’ll simply scream her head off again.
She also has a far more open mind and heart than one would expect from someone like her. When faced with the devastation that has been done to Griffith, even as he has been turned into an unmoving, unspeaking creature as frail as a newly hatched bird, she doesn’t shy away from him for a second. Rather the opposite, she clings to him, walking next to him with a protective hand on him, and as they flee through the sewers she hikes up her skirts to be able to run faster, thinking that she will give up every comfort of her life as long as she is able to stay with him.
As a final test of her mettle, she doesn’t hesitate for an instant before letting herself be hit by a poison dart meant for him, and even then refuses to leave her side until he promises he will return. And on her return to her father, still weak from the poison, she at first pleads for the life of the servant girl she dragged with her, and then for her father to let Griffith go, saying that he has surely been punished enough.
So while she is still naïve of a lot of the ways of the world, and utterly blind to anything but goodness and nobility from Griffith, she shows herself to be far from helpless, and while exhibiting much of the foolish behavior one would expect from someone so young and so sheltered – again, most particularly when it comes to Griffith – she is not unintelligent either, and she can think quickly on her feet. She shows herself to be kind, compassionate and understanding, and Casca notes to herself that she notices none of the haughtiness and coldness she has come to expect from nobles in her. She doesn’t even seem very bothered by Guts’ far from courtly manners, even allowing him to carry her during the rescue mission – although she flinches when he grabs her and shouts at her after the hunt, and is scared by him after seeing him in battle.
So in conclusion, she is far stronger than anyone would expect her to be, albeit still shaped by her sheltered upbringing.
