A — [ Elise is one of the first to arrive on deck one. It didn't occur to her to go anywhere else first, and so whatever discomfort others are experiencing in the face of being shepherded in its direction is lost on her. In the strangest of situations, her best bet is to do what she's told, and in any case it's the most practical option to attend a safety briefing when she's well aware that so many things could go wrong. She cuts an odd figure – stiff-backed, expression carefully neutral – among the others milling around on the deck. The lei draped around her neck comes off as soon as she's no longer being scrutinised, but she has something of a stranglehold on it as she's carrying it in her hand.
Karl would tell her to make conversation, so she steps primly up to someone, waits for a moment to filter through the carefully ordered knowledge in her head, and then: ]
Cruise ships are more likely to be stranded than to sink.
[ Up close, you might notice that Elise's left eye is distinctly bloodshot, the skin around it lightly mottled with bruises. It doesn't seem to bother her. ]
B — [ This place is not friendly. Elise does not want to be aboard this ship, nor does she know how she came to be here in the first place. Unease doesn't outweigh practicality, though, which is why she's at the buffet table with a very bland selection of food on her plate. Fries, a slice of bread. After a moment of digging around in her pocket, though, she produces a tiny vial of tabasco sauce on a keyring, and unscrews it to meticulously shake the sauce over her food. It's a lot of sauce for just one woman to handle. ]
☞ 2. THE DEVILS I KNEW
[ The voices are an irritation at best; Elise's real problem here is that she can't concentrate. Her mind is compartmentalised to a degree that would probably unsettle anyone else were they to wake up inside it, but it's soothing for her to know where her thoughts go, where everything needs to be. Things are put away carefully so that she can find them again. The voices are getting in the way of that.
Frustration rarely finds a foothold in her – as it stands, she barely seems frustrated at all when she finally gets sick and tired of hearing it. Get out, get out, get out — ]
Where would you like me to go? There's only the water.
[ It makes sense in the moment. If the voices can talk to her, then surely she can talk to them. ]
☞ 3. WILDCARD
[ hmu with whatever~! happy to switch to prose format also, whichever you prefer! ]
elise wassermann | the tunnel | cw: eye trauma
A — [ Elise is one of the first to arrive on deck one. It didn't occur to her to go anywhere else first, and so whatever discomfort others are experiencing in the face of being shepherded in its direction is lost on her. In the strangest of situations, her best bet is to do what she's told, and in any case it's the most practical option to attend a safety briefing when she's well aware that so many things could go wrong. She cuts an odd figure – stiff-backed, expression carefully neutral – among the others milling around on the deck. The lei draped around her neck comes off as soon as she's no longer being scrutinised, but she has something of a stranglehold on it as she's carrying it in her hand.
Karl would tell her to make conversation, so she steps primly up to someone, waits for a moment to filter through the carefully ordered knowledge in her head, and then: ]
Cruise ships are more likely to be stranded than to sink.
[ Up close, you might notice that Elise's left eye is distinctly bloodshot, the skin around it lightly mottled with bruises. It doesn't seem to bother her. ]
B — [ This place is not friendly. Elise does not want to be aboard this ship, nor does she know how she came to be here in the first place. Unease doesn't outweigh practicality, though, which is why she's at the buffet table with a very bland selection of food on her plate. Fries, a slice of bread. After a moment of digging around in her pocket, though, she produces a tiny vial of tabasco sauce on a keyring, and unscrews it to meticulously shake the sauce over her food. It's a lot of sauce for just one woman to handle. ]
☞ 2. THE DEVILS I KNEW
[ The voices are an irritation at best; Elise's real problem here is that she can't concentrate. Her mind is compartmentalised to a degree that would probably unsettle anyone else were they to wake up inside it, but it's soothing for her to know where her thoughts go, where everything needs to be. Things are put away carefully so that she can find them again. The voices are getting in the way of that.
Frustration rarely finds a foothold in her – as it stands, she barely seems frustrated at all when she finally gets sick and tired of hearing it. Get out, get out, get out — ]
Where would you like me to go? There's only the water.
[ It makes sense in the moment. If the voices can talk to her, then surely she can talk to them. ]
☞ 3. WILDCARD
[ hmu with whatever~! happy to switch to prose format also, whichever you prefer! ]