S72: permissions post

BASIC INFORMATION

Name: Lakshmi Bai, Manikarnika, "Manu", "Chhabili"

Canon: The Order: 1886

Age: 57. ( Appearance: Mid Twenties )

Bio: Rani Lakshmi Bai was the Queen of Jhansi and one of the key leaders of the First Indian Independence War against the British Occupation. Born Manikarnika, in Kashi ( Varanasi ) in Northern India, to a prominent member of the Peshwa's court of the Marathi Empire, Baji Rao II. When her mother died when she was a child, her father had no idea how to raise a daughter, so instead raised a son. She was trained in sword fighting, riding, reading and writing, and archery and was a favourite of the Peshwa for her playfulness. When she was 13, her father and the Peshwa arranged a fortuitous marriage for her and she became the wife and Queen of Jhansi to the Maharaj Gangadhar Rao Newalkar, taking the name Lakshmi Bai. Whilst there was a significant age gap, they had a happy marriage and eventually had a son together, named Damodar Rao. It was not to be, however, her son was to die in just four months, and after a hasty adoption of another son, Anand Rao, soon after her husband died too. It was thought this would be enough to ensure her continued rule, however the british contested this succession, despite it being legal, and instead opted to take the country for themselves. A few short years later, however, a rebellion would break out and Lakshmi would be blamed for a massacre of British Officers and their families. After this happened, whether she was truly behind it or not, Lakshmi would become the figurehead of the rebellion against British Rule in central India. The war would rage over a course of months and smaller battles before finally coming to a head in 1857 outside the walls of the Fortress of Gwalior. After two long days of battle, she fell beside her men, sword in hand, valiant to the last but ultimately defeated.

Or so the British would tell the world and so she let them believe. In truth, the occupation of India by the United India Company was being used as a front by Lycan and Vampires to export their kind through the British Empire and prey upon the innocent and infect whole cities. Jhansi was no exception and Lakshmi stood up and fought to protect her people after her husband's death. These were no Half-Breeds that the Knights of England fought, these were the Purebreeds that has been consolidated into a fighting force. During this at some point, she met one of the legendary knights of the Round Table, Sir Bors de Ganis, who had been gifted with eternal life by the mysterious holy grail, or Black Water as it is known. After his death, she took up his Black Water and in realising the sheer magnitude of creatures she was fighting, she elected instead to fake her own death and steal away to England in the chaos of war. It's there she takes the fight for her country and all others that suffered her own fate.

In England, she begins her own rebellion, and finds the Knights - men and women once devoted to fighting the Supernatural threats that plague England - now political puppets to the goals of that which they hunt. Trusting none of the nobility, she fights on the streets through acts of sabotage and guerrilla warfare feeding into political unrest. Though they fight the corruption of the Empire in all forms, in particular, she targets the ships of the United India Company to huge amounts of public destruction and loss of life but is effective in disrupting the United India's shipping. Though the losses are heavy, at one point killing a Knight, and destroying the Crystal Palace, they are acceptable to her eyes. It's this that eventually puts her in the way of Sir Galahad and the rest of the Order. Not that she's interested in letting it slow her down.

SYMBIOTE INFORMATION

[ROA] - [EMOTIONAL TRANSFERENCE]
The ability, either individually or in large groups, for Lakshmi to incite her own feelings in other people. Lakshmi will always only be able to transfer her strongest feelings. If she's angry, she can't force someone to be happy. Strongly affecting a person makes them suggestive to the actions that ally with that emotion, a mild hold just makes them have passive feelings, so they're more irritable, more pleasant, more inclined to laugh. When she affects a person very strongly rather than mildly, it makes her feel her own primary emotion twice as strongly. Once the emotional state is over, for twice the amount of time that Lakshmi held the ability, she will become completely emotionless, feeling neither happiness or sadness or self preservation, a completely empty void.

BROOD: [MIRFAC]
LAKSHMI BAI - ELENA GILBERT - SHINJI IKARI - GILDOR HELYANWE - SETH GECKO - PROMPTO

FORTRESS WALLS ( NEST )
Jhansi was one of a string of outpost fortresses built along the edge of a once greater Empire, before it became it's own kingdom. Unlike others which were built as a display of wealth or power, the fortress of Jhansi had one purpose and one alone: defence.

Lakshmi's mind most outwardly is circled by the high walls of her city - and in her physical sense of herself, it is to those walls she is bound completely, they keep her herself. As far as she is concerned and it reflects inwardly even at a surface level: that city is her, and she is that city. It's her dreams, it's her return point. When she wants to concentrate, it's to it's centres. It is how she divides her emotional self from her position as a leader and her age.

But it is divide and where she is logical, it is marked by stone paths, temple walls, long chants done in rapt process of memorisation of the thousand names of Shiva, writing out words over and over again. The rhythm of jewellery adorned feet and bells that progress forward. A strict sense of discipline that permeates every single thing she does and an unshaking hand when she carves herself up. Emotionally however, and it is present in those walls, is a sense of fire. Burning. Destructive and creative all at once, it doesn't stop. Whether it's a oil lamp lighting a room, or the moment of self immolation, it might be a city but it is always a city on fire.

RANI MAHAL ( BROOD )
'The Queen's Palace', the Rani Mahal in a smaller building inside of Jhansi itself, that was where Lakshmi was granted to live after the British stripped her of everything else. It is there that she lost the shelter of being a wife and took the form of who she would become famous for.

She is self immolation made a long series of living, absolute, moments. If the question is "would she do it?" the answer is always a resounding yes. The inner most inner, the room within rooms is just built around to keep the need to burn everything all of it - the whole hive, empire, civilisation as it stands itself - to the ground if the possibility so much as becomes truth that they could be causing greater suffering ( in particular about the vampires about them ). A real and palatable fear, a sense of age, of extreme misery, of having seen too much and the only thing that comes out of it is absolute resolute that she doesn't care even a little about her own life. Not in a manner of self deprecation or self loathing but that her loyalty and dedication is unceasing and without hesitation. Rani means everything to her - not in entitlement but it is her, and a Rani is only as good as how she serves, and serve she absolutely will.

RAKSHASA ( VAMPIRES & LYCANS )
The demons fell upon Brahma, consuming his limbs and tearing at his flesh. Brahma cried out to Vishnu: 'Rakshama! ( Protect me! )'

They aren't human, they are beyond even monsters and she is beyond just simple instinct hatred - she consider them a plague. A sickness and infection that she rails against this insistence that good behaviour means anything. When a animal is sick, you put it down, rather than waiting for it to infect the rest of the herd. The lack of this day by day makes her rebel against the connection to the hive even as she feels herself growing more comfortable to Elena's presence. She makes herself acutely aware of every little thing they do. The mere mention of the word near her draws up inseparable and complete images of carnage and battle. The screaming of innocent civilians, the sound of flesh ripping. The horror of the dark and not being able to even look at a children and not thinking about to most mercifully put them down. They are mingled unmistakable with the redcoats of the 19th century British military and Jack the Ripper in the streets of London.

MENTAL LINK
Bells that ring in a temple, bells that beat loudly with the warning of war. Walls that rise up, walls that shudder and crumble with canon fire. A lady's hand on hers: a hand that is painted with henna, a hand that is covered in blood. Love: a love that is new, a love that is dying. A man: a man with a kind smile, a man that is weak in a grand bed. A child in her arms, a empty crib. A toddler that begs for sweets, a young prince that promises to never leave in fear of all that he is heir too. A flame that lights the lanterns in the temple, a flame that torches every room. A flame that burns sweet with incense, a flame that burns choking with sulphuric gunpowder. The red line of kumkum in her hair as a bride, the red blood in her hair as a window. Shiva who wonders near and far, Sita who burns herself alive in indignation. Lakshmi who brings prosperity, Kali who wears a garland of skulls. The feeling of screaming orders so long and so loud the voice no longer comes except for a scratch of damaged vocal cords. The weight in the back hand swing of a sword in each hand and the absolute purpose. The sensation of being ripped apart. Healed. Ripped apart again. Oil that slides over the skin. The blood that slides within her own skin.

Peace that only comes as a river that extinguishes the flame.

PERMISSIONS

Physical Affection: She always prefers to initiate it, but it's fine.
Physical Violence: She's a queen as much as a soldier who will escalate to a preferred field every time, so get ready to rumble if/when it starts because she's always ready to fight.
Romance/Relationships: She always prefers to intiate it, and if she isn't interested she'll make it obvious pretty damn quickly.
Thread-jacking: Go right ahead.
Back-tagging: Living in Aus makes it par of the course.
Fourth-walling: She's a real world historical figure, and if your character would know her, please feel free.
Offensive Subjects/Triggers: Lakshmi and the Order: 1886 deals with the themes of colonialism, classicism and racism. If these themes at any time make you uncomfortable please let me know, as it isn't in my interest to use this things for shock and horror for the sake of drama, but nor do I want to disrespect the history for what it is. Additionally, the vampires and lycans of the Order: 1886 are gothic horror in nature. They are cannibalistic, violent and massacres happen and are referenced in canon that doesn't spare children, and in some of the media there is an implication of child murder that has been done by those that fight them. Lastly on the historical side, Lakshmi was married as a child bride, and doesn't find the it anything particularly right or wrong with it and loved her husband. If you find that uncomfortable in any way, please let me know - to her it's naturalised and part of life, but I completely understand if that makes people uncomfortable and they want to avoid it.
Anything Else? N/A

[Lily] • aeneia @ PLURK/JOURNAL

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