Peter Pan

I DON'T KNOW WHAT I'M DOING WITH THIS CHARACTER, BUT I GUESS YOU CAN LEAVE A COMMENT HERE OR SOMETHING IF YOU WANT TO PLOT OR LEAVE HELPFUL TIPS.

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Player Name: Ros
Player E-mail: rosloops at gmail.com
Instant message contact (AIM/MSN/etc): pyrocornflakes (AIM)
Plurk (if applicable): rosloops
Is the player at least 18 years of age? Very much so.

Character's Full Name: Peter Pan (real name: Malcolm)
Canon Once Upon a Time
PB/Actor: Robbie Kay
Character's Starting Level: I'm not sure what level he should start at-- he's pretty old and pretty overpowered in the show, but I don't want to pick too high a level to start.
Character Age: Roughly 15 (formerly in his late 30s/early 40s, in actuality somewhere in the 300s)
Physical Description: Despite his reputation as one of the nastiest boys to ever live, Peter Pan doesn't cut a terribly imposing figure. In fact, at first glance, he really looks quite harmless, if a touch mischievous. Standing at 5'9", Pan has a slight build with gangly limbs, which gives the impression that he's still growing into his body-- or would be, were he not stuck in the same, somewhat awkward developmental phase for the past three centuries. His skin is fair and his eyes are green (helpfully matching his clothes). His face has delicate, vaguely elfin or fae-like features, which are at odds with his large, round ears, which stick out just a bit. But, really, the main feature of his face is his eyebrows, which are quite expressive, prone to arching and furrowing all over the place. They really seem to have a mind of their own. Pan has a youthful face that smiles easily, and he often wears a mischievous expression that can turn downright menacing at the drop of a hat.

Pan's rather well groomed for a teenager who's been living in the forest for three centuries. He keeps his sandy brown hair short and parted to the side, and it always appears to at least have been brushed, since it tends to stay in place, quite unlike, say, Felix's bird's nest of a hairstyle. There aren't any smudges or dirt on him, and his clothes appear clean, if somewhat worn. Pan likes to stick to earthy tones, favoring greens and browns of varying shades. He dresses like a little forest child. His favored outfit is a pair of lightly mottled grey-green trousers, a green tunic, well-worn knee-high boots, leather wrist cuffs, a brown belt, and some kind of quasi-fishnet-like undershirt that's just barely visible beneath the tunic. It's likely that if he were to change into modern clothes (which he'd probably... have to, eventually, after dropping into this world), he'd probably dress fairly well, but casually, pairing jeans and button-up shirts or something. Given that he kept himself clean and dressed in a matching, coordinated outfit while in Neverland, Pan would likely try to keep himself looking good by 21st century Western standards. But he'd long for his green outfit. Woe.

Character's Species/Race (aka human, elf, dragonblood human, etc): Human

Character History (Pre-Veil): Malcolm History & Peter Pan History

Post Veil History: Once Pan arrived in this world, he... well, he thanked his lucky stars that he did a lot of spying on The Land Without Magic; otherwise, he would've been totally lost with regards to the modern amenities and technology. As it was, he landed in New York City. With no money, no family, no friends, and no support, Pan was in for a rude awakening. Things were rough at first. He mainly scammed, scavenged and stole to get by-- which, unbeknownst to him (due to losing his memories of Malcolm), was exactly how he got by in another life, back in the Enchanted Forest. And, being Pan, he eventually managed to form a gang for himself, recruiting alienated Shadowkind youths into a little band of misfits. While thievery and odd jobs didn't earn them enough money to adequately live in a city as expensive as New York (especially since Pan lacked money management skills), they were eventually able to get off the streets and move into a crammed, run-down apartment somewhere on the border between the Lower East Side and Chinatown. The whole deal was very shady, and likely the slumlord landlord only allowed the kids to live there because they paid their rent in cash.

Eventually, things took a turn for the worse for Pan and his new friends. A creature that made its home in some abandoned subway stations and tunnels began preying on the city's children-- specifically homeless or runaway children, those who wouldn't be missed by anyone. Of course, homeless and runaway children were basically Pan's territory, as far as he was concerned. And so, after a couple of his friends were picked off by the creature and the other children scattered, Pan took it upon himself to go monster hunting, searching for it in the aforementioned abandoned subway stations and tunnels. During his hunts, he came across one of the Knights, who had been sent to dispatch the creature, themselves. Together, they teamed up and ultimately found and disposed of the monster, Pan using his magic and his sword to aid in the fight. And so, despite the fact that he was really just being territorial, Pan came out of the situation looking like a heroic young man, one who was willing to put his life on the line for his friends and for vulnerable children everywhere. Could he be Knight material?

Chosen Canon Point: Between 3x07 and 3x08, after he finally convinces Henry to help him "save magic," but before they actually go to Skull Rock.

Personality and Psychology: Peter Pan may look like a regular boy with fantastic eyebrows, but he's anything but ordinary. Once upon a time, Pan was a man who didn't really bother to grow up. As Malcolm, he lied, cheated, gambled and drank his way through life, and somehow would up saddled with the responsibility of being a father in he process, something he was wholly unprepared for. Although he debatably cared about his son, Rumplestiltskin, to some degree (despite later claiming he never loved him), he behaved more like a friend or a reckless brother, and often shirked his responsibilities to go get drunk or cheat people out of money. Sometimes, he even took Rumple with him. What a great dad. In any case, he seemed pretty content to be a drunken layabout for the most part, but he possessed enough self awareness to recognize his faults: that he was never cut out to be a father.

When Rumple presents him with an opportunity to go anywhere he wants, it brings back his fondest memories of a place he visited in his dreams as a boy: Neverland. Once in Neverland, an obsession with youth is rekindled in Malcolm. He's fixated on trying to recreate the Neverland experiences he had as a boy, but finds them impossible as an adult, and with Rumple "holding him back" by reminding him that he can't fly. This drives him to make a terrible bargain with the Shadow, Neverland's sole inhabitant: trade Rumplestiltskin for a chance to be young again. Malcolm displays a rare moment of self-reflection, in that he declares himself weak and knows that wherever he and Rumple go, he'll only go back to his old ways and screw things up again. This is then twisted into a rationalization to support his yearning for youth: since he's not cut out to be a father, then Rumple's better off without him, anyway. He's doing Rumple a favor by allowing the Shadow to take him away. And, oh, look at that, he just so happens to get what he wants-- his childhood restored-- in the process.

This behavior demonstrates that Malcolm (and Peter Pan) is a twisted, greedy person. He abandons his son and, within moments, seems to forget about him, immediately going on an adventurous flight around Neverland, rather than mourn the loss of his child (although it is worth noting that he has a semi-regretful expression on his face for a moment). Once he becomes Peter Pan, he regresses almost completely into adolescence. While he doesn't forget Rumplestiltskin, he does seem to disassociate himself from his old life and from his very role in Rumple's life. In subsequent encounters with Rumple, refers to himself in the third person, going "your father" rather than "I/me" whenever he talks about abandonment or forgiveness. While Pan hasn't actually forgotten that he once was Rumple's dad (despite Rumple's accusation that Pan forgot about him), he has pushed that relation to the back of his mind, where it can no longer trouble him or get in the way of his enjoyment of youth. As Pan, he is, despite his origins as a man, a child. He isn't an adult trapped in a child's body-- in a way, he's the opposite of a character like Claudia from Interview With a Vampire, who's an old soul cursed with youth. The vices and characteristics he had as an adult-- drinking, gambling, among others-- are all but nonexistent as Pan.

Pan's obsession with youth supersedes everything else in his life. He is willing to sacrifice anyone and anything to retain his perma-adolescence, including his own son and great-grandson. His selfish actions have had repercussions that have haunted his family through several generations, and he simply doesn't care, so long as he gets what he wants. That Henry will die in the process of him becoming truly immortal, well, that's just a sacrifice the kid'll have to make. Once Henry does (somewhat unwittingly) make that sacrifice, Pan doesn't even flinch or appear remorseful in any way. He simply appears triumphant.

Pan fully embraces his youth, and is, admittedly, not the most well-behaved boy in Neverland. Forever fifteen(ish), Pan is still a child in some ways, but he lacks a child's thoughtless cruelty. His own is much more pointed, deliberate. He's sadistic and manipulative, and he clearly enjoys causing suffering and strife in others. In one example, he tries to make a deal with Hook to kill an already-dying Charming as a show of loyalty to him. Pan wanted to make Hook commit murder just to prove that he does have such a degree of control over the pirate's life. He doesn't, of course, and his little plan to kill Charming fails, but that doesn't change his intent. Another show of his sadism is his treatment of the Darlings. He keeps Wendy captive for roughly a hundred years, keeping her brothers alive to do his bidding under the threat that he'll harm her if they don't... and forcing her to do his bidding under the threat that he'll harm her brothers if she doesn't.

Whether it's through force, clever manipulation or just twisting the truth a little bit, Pan tends to get what he wants. Pan's a capable liar, and he can also be charismatic, to boot. He can come across as charming, friendly, and fun-loving in order to get somebody to come around to his way of things. On the flipside, he's equally capable of presenting himself as a malevolent force, going so far as to threaten to make Emma a true orphan. He's also capable of, through his leadership, turning a pack of children (well, teenagers) into cold-blooded killers who follow his every command. He's ruthless, and he's not to be trusted. Even though he may not personally kill people, it's clear that he doesn't value human life, and he will send his Shadow or his Lost Boys to do the dirty work of dispatching his enemies... and his pawns, once they've outlived their usefulness.

He enjoys making deals with people, similar to his son, but unlike Rumple, it's all simply part of a game to him. In fact, to Pan, everything is a game. Seeing if Emma can unlock his secret map, driving a wedge between Baelfire and Rumpelstiltskin (in the past and in the present), snatching Henry away from his family-- all of these are just part of the game to him, and it doesn't matter to him whether people get hurt along the way. Really, he's probably counting on it, and he does what he can to encourage more strife and bloodshed, such as (again) offering Hook a way off the island if he personally kills Charming. It's all in the name of fun, adventure, and getting what he wants from people.

Peter is a clever, resourceful boy. He's extremely intelligent, and he has a way of coming across as having a great deal of knowledge about others' lives, their hopes and weaknesses. He tends to take this knowledge and turn it on people as a weapon. It's difficult to say if there's something magical about his seeming omniscience, or if he's just extremely good at gathering information and reading people. Either way, he knows his enemies well, and he tends to know the best ways to deal with them.

Oddly enough, Pan seems to feel some camaraderie with children who feel lost and abandoned-- the very way he made Rumplestiltskin feel when he abandoned him as a child. When he gets lonely, he seeks out children who feel unloved in order to bring them back to Neverland as his new friends. Although he's their leader, he largely eschews responsibility, preferring to let the Lost Boys do what they want, even if it costs them a few fingers. There is no saying "no" in Neverland, and nobody has to apologize for anything. It's very much a child's paradise... with some Lord of the Flies elements on top of it.

It's worth noting that despite the occasional weak attempt at reconciliation with Rumplestiltskin, (which are, in actuality, more likely attempts to save his own skin) Pan doesn't actually love his son. If he cares about him at all, it's more in the way one would care about a possession, something he can keep with him (all boxed up). Pan outright admits that he never loved Rumple (at best, he might have loved him once as Malcolm, but he never loved him as Peter Pan), and in fact, he deeply resents his son's very existence. All he's ever seen Rumple as is a parasite sucking away his life, his money, his dreams. And, beyond that, Rumple stands as a reminder of Pan's former life. How can he truly be Peter Pan, an eternal child, while he has a son? As long as Rumple's around to remind Pan that he isn't really a child, Pan will hate him. In fact, he hates him to the point where he doesn't just want Rumple gone; he wants him to suffer. He'll go so far as to kill his own grandson to do it.

On the flipside, for all his selfishness, his wickedness, Pan is actually capable of love. He admittedly loves Felix, his second in command, as a close friend. After all, Felix has always believed in Peter Pan, and that loyalty doesn't go unnoticed or unappreciated. If not for his love of Felix, he wouldn't have been able to cast The Curse on Storybrooke, a curse requiring the heart of the thing he loves most. Sadly, even if Pan loves somebody, he's still capable of turning on them and even killing them, as he will always put himself first.

TL;DR: He's a magical dickhead who won't grow up.

Memories Retained or Lost: Pan's forgotten his life as Malcolm, so everything outside of Neverland is gone. As far as he can recall, he's always been Peter Pan, and he's always lived in Neverland. He bears no memories of his family or adulthood. Really, it's just what he's always wanted. To Pan, Rumplestiltskin isn't his son; he's simply the Dark One. Baelfire? Just another abducted child. And Henry? Well, Henry's still the Truest Believer, but he doesn't have any recollection of their being related.

Powers and Abilities: The scope of his abilities are sort of vague in canon, given the fact that in Neverland, all you really have to do is believe for something to happen. He has a connection to the island; he knows when somebody leaves and when somebody arrives, and apparently, it's only by his will that people can depart from Neverland. It's established that he can fly-- with pixie dust-- and he can teleport, cast complex barrier spells, swap bodies, tear out shadows (or at least get a good grip on them), and start fires. He's also immune to certain spells (he's unaffected by Rumpelstiltskin's sleeping spell that knocks out the rest of the Lost Boys) and is likely extremely difficult to kill, given that he has a knack for doing things like catching arrows that are shot at him. Despite his connection to the island, Pan can and does use magic outside of Neverland. In Storybrooke, he uses telekinetic force pushing, freezes people in place, and makes objects materialize in his hands and onto others. He's also capable of casting complex curses.

Additionally, his shadow is an entity unto itself, and it can tear others' shadows out, killing them. However, he rarely keeps his shadow with him (and it won't be traveling through the Veil with him, so he'll just be shadowless).

Despite his near-eternal youth, Pan isn't immortal; he's on a timer, and once it reaches its end, he will lose his youth and die. Also, as a magical being, he's vulnerable to squid's ink-- it incapacitates him for a period of time.

Roleplay Samples

Link to a sample of your character in action: Menacing Wendy.

Link to a sample of your prose writing style: Some Red Scharlach prose.

Any other important information (including special inventory items in their possession): Pan casts no shadow, so those meeting him may notice that oddness. Additionally, he's arriving with a cutlass (nothing special about it; just thought I'd mention it since it's a weapon) and magical panpipes that only people who feel lost, lonely, or unloved can hear.

Why do you think this character would join/work with the Knights? On the surface, Pan isn't a likely candidate for the Knights. Why would he want to surround himself with do-gooding adults? Well, they have a few things that Pan wants. First, he craves a return to a life of adventure, and wishes to escape his subsistence-living life in New York City, where, let's face it, he really has no chance of upward mobility. That can be easily remedied by joining up with the Knights. Second, and more important, if he can't get home, then he'll want to amass as much power as possible and gain eternal youth here, in this world. With the resources of the Knights backing him up, he could more easily search for or work towards these things.

Do you have a preference for which NPC brought in your character? Any NPC will do, although I think he'd get on pretty well with Kat, and it might make sense for her to be in the area, since she's a New Yorker. However, if you feel another NPC is more appropriate, I'll defer to you!

Player's Name: Ros
Are you over 16? Yes
Characters Played Here: Rex, Bucky, Chase

Character: Peter Pan
Series/Canon: Once Upon a Time
From When? The beginning of "Save Henry," after he obtains Henry's heart and fliiiiies away.

( App under the cut. )