Julian Arenas (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
sociospatial) wrote2013-12-07 09:56 pm
sociospatial) wrote2013-12-07 09:56 pm
(no subject)
Player Information
Player Name: Ryann
Player Contact: cornichaun @ aim, gmail, plurk, dw
Are you over 18? Yes!
Current Characters:
Character Information
Name: Julian Arenas
Canon: Original
Reference Link: n/a
Canon Point: n/a
Age: 41
Appearance: PB'd by Nestor Carbonell; tall, dark-haired, and no that's not actually eyeliner that's just his face. Almost always wearing a perfectly tailored suit, calm, collected, a little smirky.
Orientation: Dominant. It isn't so much that he requires that he is in control: he's a hands-off kind of puppet master. Rather, he likes being the one presenting the stimulus. Being the one that is trusted, the one that creates the subjective experience that a submissive has. He considers his encounters a work of art, like he considers everything else. He likes to think of himself as an artist and the submissive, and their inherent, human unpredictability, a tool in his repertoire. Even disasters are interesting to him.
He is generally in charge in his day-to-day life, and he likes the power structure of the world and the way it's manipulated. He heads a law firm and enjoys the hell out of it. Dominant was an easy choice for him, both because of what he wanted to do with his life and because of his own natural tendencies.
AU History: Born in Colombia to rich parents, powerful parents, Julian only immigrated to the United States (Florida) at the age of 11, after his father was assassinated by a militant group. Julian wasn't the one to find the body, but he did stumble across some of the bodyguards bloodied and dead in the courtyard outside their home. He remembers very little of this day. He doesn't recall being particularly afraid or concerned, but this is a fiction of memory: this day was a turning point in Julian's life and the defining point of his psyche. He has no specific trauma centered on this memory, but the callousness and the brutality of it made a deep impression on him.
After his family fled to America, taking shelter with an uncle, Julian adapted like a chameleon. He could shed his accent completely within a year and a half of arrival into the United States. Out of four siblings, Julian was the second-youngest and by far the smartest and the most ambitious. However, public school in Florida didn't give him much chance to advance, and the combination of boredom and disdain for the world around him led him to turn inwards for his entertainment. He learned to control his environment with charm, and meanwhile manipulated events to his own benefit. He learned to subtly steer bullies towards people he wanted to hurt. His unflinching, snakelike calm tended to inspire acts of violence near him but never quite attributable to him. No disciplinary actions ever made it into his record, but teachers deeply disliked him, classmates feared him, and he remained unconcerned.
Around graduating high school, he traveled to Colombia for more than a year, helping his sister become active politically in that country. He found that it didn't suit him, that he just didn't care, and eventually returned to Miami for university. He found that he was fascinated with chaos, with unpredictability, and with pressing at weak places in systems. After university, he went to law school in Chicago, and with family money founded a small practice of his own. Due to his lack of scruples, his precision, and his sideways attitude, his firm quickly grew, finding purchase in the cracks and corruptions of Chicago's political system.
Over time, he lost interest in what Chicago had to offer, and turned his sights towards a different city, a city offering a larger art scene, more population, greater unpredictability: New York. He made the jump in 2005, at the age of 33. He's now the head of one of the most unique and quietly powerful (though not one of the largest) law firms in New York City. Despite running a charity/orphanage and taking frequent pro bono cases, he still has that quiet, fearful reputation - he's outwardly charming, but somehow, distantly, perceptive people know that he's not someone you want to get too close to, and in certain circles he's known as a serious scumbag.
Personality: Julian considers himself a harnesser of chaos. In his mind, he has to be; the modern world is full of relativity, unpredictability, shades of grey. The best way to get forward in a world like this is to let the chaos work for you. He hires employees who he feels confident will betray him sooner or later, he creates interesting situations just to see what people will do, and he sees the world as an ultimately meaningless arena for - more or less - playing around.
Julian concluded that there is no meaning of life at an early age. The death of his father made him cold-blooded. On top of this, he was too smart for his surroundings; he saw through people too well, saw through the fragile illusion of control people have over themselves and their actions. He concluded that people were at heart unpredictable, uncontrollable, though they can be manipulated extremely effectively up to a point. And, when he thought this through, he realized he liked it. He found humanity, even divorced from any moral center of gravity, interesting. The most interesting thing, in fact, that the universe had ever come up with. (He finds considerable entertainment in romantic notions, like humanity is how the universe decided to observe itself.)
This, plus the advent of the internet, the information age, a world full of chaotic and complex stimuli, created a very strange person in Julian. He began to believe that meaning could not be found in humanity's illusions of morality, or narrative (how people always make things into stories) or love or family. He finds meaning in things themselves. Fleeting beauty in two people dressed in the same outfit passing on the street. Complex beauty in the social and spatial ripples that come from, say, a car accident in which someone young and sympathetic is killed: the memorials, the news stories, the commentary. He looks at the whole world like one long, disjoined, necessarily nonsensical piece of performance art.
In this, he regards himself as the new age of villain. He looks at war as passe, at terrorism for political and social ends as ultimately futile. He believes that police, law enforcement and armies are fighting battles that reached their peak a long time ago, and as a result are now just a way of sucking time, money and resources into illusory fights. He doesn't do what he does for ends, for long-term goals, though he does enjoy taking advantage of little boosts in power and resources. He does it because he wants to see what happens. He does it because there is meaning in the act itself: a riot is fun because of the chaos and instability that it causes, not because of the political change that may result from it.
On the surface, Julian is a dashing, charismatic man, always dressed impeccably, almost always in exquisitely tailored suits. He is charming, he is calm and smooth, he never loses his cool. He's a great party guest, and does good in front of a jury. But there's something a little too focused about him. Too intense. It's not a good idea to have his attention on you, positive or negative, because you never know what's going to result from it.
In terms of day-to-day life and operations, Julian runs a law firm, acts as a defense attorney and owns an orphanage. He likes hiring people who do the unexpected, who are really good at their jobs, including investigators, PR specialists, and consultants. (He's absorbed one PR firm into the law firm, and has no problem acquiring more if he needs to.) His business plan is essentially to toss a lot of really talented, unpredictable people together and see what happens. Often he finds that these people get themselves into messes or make contact with fascinating individuals and bring really interesting and potentially very profitable business into his law firm. He doesn't really seek out business through any normal channels because of this. This, of course, yields a lot of disaster as well as a lot of windfall. Which brings up a very interesting point about Julian: though he has a lot of stereotypical chessmaster traits, obsessiveness is not one of them. He is extremely hands off, preferring to let others generate the opportunities that he then seizes as they show up. Most of what he does in running the law firm is delegate and approve, leaving him free to take on criminal defense cases (and the occasional civil case) that lets him dick around in a courtroom.
He is very patient, and, in terms of casual contact, even kind: he gives his employees some of the best benefits, retirement and health, in the business. He gives them plenty of monetary incentive to stay on. He owns an orphanage/charity that works on educating and promoting upward mobility in disadvantaged youth. He even goes and reads the kids stories every couple weeks. It's because he enjoys a juxtaposition of kindness and cruelty: he isn't all about violence, he's all about chaos, and chaos giveth and taketh away. While on the one hand he treats employees with kindness and respect, on the other hand, he defends scumbags, he inspires violence in the people around him, and he and his firm are often (usually peripherally) involved in hugely awful things. He's driven more than one employee into fits of depression by doing nothing but being perfectly nice and perfectly monstrous. This is the reason, besides the fact that he self-selects strongly independent people for his most talented hires, that he gets defectors from his organization so often. (And when they do defect, he keeps careful track of what's happening, and invests, one way or another, in the companies/firms that they tend to defect to. After all, he knows an opportunity when he sees it. Though he will be SUPREMO ANNOYED, given that any defection probably disrupts some plan he has in the works.)
Speaking of, there are a few things that can get him angry. Destruction of a good piece of art is one: for example, a smart hero stepping in and cutting off a fight at the pass before it turns into a big, car-smashing, building-blowing-up confrontation. This also counts with literal pieces of art. Don't you dare burn a painting/talk on the phone during an opera, that shit is just not okay. And, well - there's the inconvenient fact that he is actually a human being and does have some human emotions.
Essentially: you can't have such a good understanding of the anti-human perspective like he does without having knowledge of the human one. You can't be so dark if you've never experienced light, kind of thing. Julian appreciates beauty because deep down he abhors that the world is full of ugliness; his kind of self-defense to that is that he's started regarding ugliness as a beauty of its own. His emotional response to his life was to detach completely. But there are some people who can get through that. Some that he values, fiercely and without his ordinary logic, people who become people to him and not just rebellious specimens.
Abilities: Julian has no supernatural powers whatsoever. He is, however, an exceptionally talented attorney, specializing in criminal matters; he has a lot of almost effortless charisma, heads a law firm, and has a great deal of modern/performance art expertise. Speaks English and Spanish and Portugese. He's also a decent hand with a gun and has a keen understanding of the human psyche.
Writing Samples
D/s Sample: The courier's a dominant. Julian can see it as soon as she walks in, swagger in her hips, lip gloss, the kind of dark-eyed makeup that never quite works on light-complexioned girls. It's a statement, he thinks, that it doesn't work. It's a statement that she does what she wants, that she looks how she wants, that she doesn't conform to your expectations.
"Sign here," she says.
Julian leans on his elbows on the desk. "Sure," he says. "If you give me your number."
She eyes him. "You're a dom," she says.
He smiles. He sees the fragile pride, the desire for control. She's perfect. "But do you really know what to do with a submissive, when you have one?" He eases the slightest bit of condescension into his tone. "Do you know how it feels, to go down on your knees? Can you keep that authority in your voice? Do you think you ever could, without someone to show you how?"
Her cheeks are flushed, humiliation and anger and - yes, he's judged right - arousal.
"Your number. Then I'll sign."
It's five hours later and his fist is in her hair, her shirt off and bra hanging loose, her lips around his cock. He's told her - keep your hands on your knees. If you move, you lose a breath.
"Breathe in." She inhales, through her nose. Tears in her eyes, of strain more than emotional distress. No, she likes this. "Hold." And he slides his cock into her throat. She's perfect, she swallows perfectly. She definitely experimented submissive before she went dominant. The traits are still there.
Fucks, slow, into her mouth, and then he withdraws. "Breathe out. Breathe in."
He gets off on this - control of her, control of the tumult of thoughts in her mind. Did she choose wrong? Is this really what she wants? He can see the conflict on her face. This - this is art.
Non-Specific Sample: here @![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
roletest
Player Name: Ryann
Player Contact: cornichaun @ aim, gmail, plurk, dw
Are you over 18? Yes!
Current Characters:
Character Information
Name: Julian Arenas
Canon: Original
Reference Link: n/a
Canon Point: n/a
Age: 41
Appearance: PB'd by Nestor Carbonell; tall, dark-haired, and no that's not actually eyeliner that's just his face. Almost always wearing a perfectly tailored suit, calm, collected, a little smirky.
Orientation: Dominant. It isn't so much that he requires that he is in control: he's a hands-off kind of puppet master. Rather, he likes being the one presenting the stimulus. Being the one that is trusted, the one that creates the subjective experience that a submissive has. He considers his encounters a work of art, like he considers everything else. He likes to think of himself as an artist and the submissive, and their inherent, human unpredictability, a tool in his repertoire. Even disasters are interesting to him.
He is generally in charge in his day-to-day life, and he likes the power structure of the world and the way it's manipulated. He heads a law firm and enjoys the hell out of it. Dominant was an easy choice for him, both because of what he wanted to do with his life and because of his own natural tendencies.
AU History: Born in Colombia to rich parents, powerful parents, Julian only immigrated to the United States (Florida) at the age of 11, after his father was assassinated by a militant group. Julian wasn't the one to find the body, but he did stumble across some of the bodyguards bloodied and dead in the courtyard outside their home. He remembers very little of this day. He doesn't recall being particularly afraid or concerned, but this is a fiction of memory: this day was a turning point in Julian's life and the defining point of his psyche. He has no specific trauma centered on this memory, but the callousness and the brutality of it made a deep impression on him.
After his family fled to America, taking shelter with an uncle, Julian adapted like a chameleon. He could shed his accent completely within a year and a half of arrival into the United States. Out of four siblings, Julian was the second-youngest and by far the smartest and the most ambitious. However, public school in Florida didn't give him much chance to advance, and the combination of boredom and disdain for the world around him led him to turn inwards for his entertainment. He learned to control his environment with charm, and meanwhile manipulated events to his own benefit. He learned to subtly steer bullies towards people he wanted to hurt. His unflinching, snakelike calm tended to inspire acts of violence near him but never quite attributable to him. No disciplinary actions ever made it into his record, but teachers deeply disliked him, classmates feared him, and he remained unconcerned.
Around graduating high school, he traveled to Colombia for more than a year, helping his sister become active politically in that country. He found that it didn't suit him, that he just didn't care, and eventually returned to Miami for university. He found that he was fascinated with chaos, with unpredictability, and with pressing at weak places in systems. After university, he went to law school in Chicago, and with family money founded a small practice of his own. Due to his lack of scruples, his precision, and his sideways attitude, his firm quickly grew, finding purchase in the cracks and corruptions of Chicago's political system.
Over time, he lost interest in what Chicago had to offer, and turned his sights towards a different city, a city offering a larger art scene, more population, greater unpredictability: New York. He made the jump in 2005, at the age of 33. He's now the head of one of the most unique and quietly powerful (though not one of the largest) law firms in New York City. Despite running a charity/orphanage and taking frequent pro bono cases, he still has that quiet, fearful reputation - he's outwardly charming, but somehow, distantly, perceptive people know that he's not someone you want to get too close to, and in certain circles he's known as a serious scumbag.
Personality: Julian considers himself a harnesser of chaos. In his mind, he has to be; the modern world is full of relativity, unpredictability, shades of grey. The best way to get forward in a world like this is to let the chaos work for you. He hires employees who he feels confident will betray him sooner or later, he creates interesting situations just to see what people will do, and he sees the world as an ultimately meaningless arena for - more or less - playing around.
Julian concluded that there is no meaning of life at an early age. The death of his father made him cold-blooded. On top of this, he was too smart for his surroundings; he saw through people too well, saw through the fragile illusion of control people have over themselves and their actions. He concluded that people were at heart unpredictable, uncontrollable, though they can be manipulated extremely effectively up to a point. And, when he thought this through, he realized he liked it. He found humanity, even divorced from any moral center of gravity, interesting. The most interesting thing, in fact, that the universe had ever come up with. (He finds considerable entertainment in romantic notions, like humanity is how the universe decided to observe itself.)
This, plus the advent of the internet, the information age, a world full of chaotic and complex stimuli, created a very strange person in Julian. He began to believe that meaning could not be found in humanity's illusions of morality, or narrative (how people always make things into stories) or love or family. He finds meaning in things themselves. Fleeting beauty in two people dressed in the same outfit passing on the street. Complex beauty in the social and spatial ripples that come from, say, a car accident in which someone young and sympathetic is killed: the memorials, the news stories, the commentary. He looks at the whole world like one long, disjoined, necessarily nonsensical piece of performance art.
In this, he regards himself as the new age of villain. He looks at war as passe, at terrorism for political and social ends as ultimately futile. He believes that police, law enforcement and armies are fighting battles that reached their peak a long time ago, and as a result are now just a way of sucking time, money and resources into illusory fights. He doesn't do what he does for ends, for long-term goals, though he does enjoy taking advantage of little boosts in power and resources. He does it because he wants to see what happens. He does it because there is meaning in the act itself: a riot is fun because of the chaos and instability that it causes, not because of the political change that may result from it.
On the surface, Julian is a dashing, charismatic man, always dressed impeccably, almost always in exquisitely tailored suits. He is charming, he is calm and smooth, he never loses his cool. He's a great party guest, and does good in front of a jury. But there's something a little too focused about him. Too intense. It's not a good idea to have his attention on you, positive or negative, because you never know what's going to result from it.
In terms of day-to-day life and operations, Julian runs a law firm, acts as a defense attorney and owns an orphanage. He likes hiring people who do the unexpected, who are really good at their jobs, including investigators, PR specialists, and consultants. (He's absorbed one PR firm into the law firm, and has no problem acquiring more if he needs to.) His business plan is essentially to toss a lot of really talented, unpredictable people together and see what happens. Often he finds that these people get themselves into messes or make contact with fascinating individuals and bring really interesting and potentially very profitable business into his law firm. He doesn't really seek out business through any normal channels because of this. This, of course, yields a lot of disaster as well as a lot of windfall. Which brings up a very interesting point about Julian: though he has a lot of stereotypical chessmaster traits, obsessiveness is not one of them. He is extremely hands off, preferring to let others generate the opportunities that he then seizes as they show up. Most of what he does in running the law firm is delegate and approve, leaving him free to take on criminal defense cases (and the occasional civil case) that lets him dick around in a courtroom.
He is very patient, and, in terms of casual contact, even kind: he gives his employees some of the best benefits, retirement and health, in the business. He gives them plenty of monetary incentive to stay on. He owns an orphanage/charity that works on educating and promoting upward mobility in disadvantaged youth. He even goes and reads the kids stories every couple weeks. It's because he enjoys a juxtaposition of kindness and cruelty: he isn't all about violence, he's all about chaos, and chaos giveth and taketh away. While on the one hand he treats employees with kindness and respect, on the other hand, he defends scumbags, he inspires violence in the people around him, and he and his firm are often (usually peripherally) involved in hugely awful things. He's driven more than one employee into fits of depression by doing nothing but being perfectly nice and perfectly monstrous. This is the reason, besides the fact that he self-selects strongly independent people for his most talented hires, that he gets defectors from his organization so often. (And when they do defect, he keeps careful track of what's happening, and invests, one way or another, in the companies/firms that they tend to defect to. After all, he knows an opportunity when he sees it. Though he will be SUPREMO ANNOYED, given that any defection probably disrupts some plan he has in the works.)
Speaking of, there are a few things that can get him angry. Destruction of a good piece of art is one: for example, a smart hero stepping in and cutting off a fight at the pass before it turns into a big, car-smashing, building-blowing-up confrontation. This also counts with literal pieces of art. Don't you dare burn a painting/talk on the phone during an opera, that shit is just not okay. And, well - there's the inconvenient fact that he is actually a human being and does have some human emotions.
Essentially: you can't have such a good understanding of the anti-human perspective like he does without having knowledge of the human one. You can't be so dark if you've never experienced light, kind of thing. Julian appreciates beauty because deep down he abhors that the world is full of ugliness; his kind of self-defense to that is that he's started regarding ugliness as a beauty of its own. His emotional response to his life was to detach completely. But there are some people who can get through that. Some that he values, fiercely and without his ordinary logic, people who become people to him and not just rebellious specimens.
Abilities: Julian has no supernatural powers whatsoever. He is, however, an exceptionally talented attorney, specializing in criminal matters; he has a lot of almost effortless charisma, heads a law firm, and has a great deal of modern/performance art expertise. Speaks English and Spanish and Portugese. He's also a decent hand with a gun and has a keen understanding of the human psyche.
Writing Samples
D/s Sample: The courier's a dominant. Julian can see it as soon as she walks in, swagger in her hips, lip gloss, the kind of dark-eyed makeup that never quite works on light-complexioned girls. It's a statement, he thinks, that it doesn't work. It's a statement that she does what she wants, that she looks how she wants, that she doesn't conform to your expectations.
"Sign here," she says.
Julian leans on his elbows on the desk. "Sure," he says. "If you give me your number."
She eyes him. "You're a dom," she says.
He smiles. He sees the fragile pride, the desire for control. She's perfect. "But do you really know what to do with a submissive, when you have one?" He eases the slightest bit of condescension into his tone. "Do you know how it feels, to go down on your knees? Can you keep that authority in your voice? Do you think you ever could, without someone to show you how?"
Her cheeks are flushed, humiliation and anger and - yes, he's judged right - arousal.
"Your number. Then I'll sign."
It's five hours later and his fist is in her hair, her shirt off and bra hanging loose, her lips around his cock. He's told her - keep your hands on your knees. If you move, you lose a breath.
"Breathe in." She inhales, through her nose. Tears in her eyes, of strain more than emotional distress. No, she likes this. "Hold." And he slides his cock into her throat. She's perfect, she swallows perfectly. She definitely experimented submissive before she went dominant. The traits are still there.
Fucks, slow, into her mouth, and then he withdraws. "Breathe out. Breathe in."
He gets off on this - control of her, control of the tumult of thoughts in her mind. Did she choose wrong? Is this really what she wants? He can see the conflict on her face. This - this is art.
Non-Specific Sample: here @
roletest