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[recorded]

Player Name: Jes
Player DW: temples
Contact: bedlam
Character Number: Third.

Character: Anya Alstreim (and Marianne vi Britannia.)
Fandom: Code Geass

Personality:

On the surface Anya is a very lukewarm and blase individual. She linefaces perpetually, visibly bored with her surroundings -- and yes, that includes you. She'll engage in conversation but she'll give no indication of enjoying it or caring about what the other person has to say. That's not to say she isn't listening; she is. In fact, she pays very good attention to her surroundings, it's just that her outward demeanor belies it. When she speaks, her exchanges are short, clipped, and to the point. She does not waste time or words.

There is a very good reason for this (no Code Geass character is without his or her Freudian excuse, after all): significant holes in Anya's memory; brought about by the Emperor's Geass and the fact that at times, Marianne vi Britannia's consciousness emerges to take hold of Anya's body. When Marianne recedes, Anya is left with no memory of what has happened between then and now. This is a considerable source of fear and worry for Anya, who has no conceivable way of connecting the dots of these occurrences. As she tells Jeremiah, she truly believes she has no memories. One of her ways to compensate for this is her omnipresent recorder: a small device that is cell phone, computer, diary, and camera in one. She carries it with her always and is constantly recording data of her surroundings, her observations and her activities.

While she may come off cold the fact is she is not a cruel or unfeeling person. There isn't a great deal of meanness or personal malice to the way she conducts herself. However, one could easily perceive that she lives for her duty as a Knight of the Round and Knightmare pilot. Inside the canon she is visibly saddened -- for a certain allowance of the term -- when she cannot participate in Gino's impromptu battle with standard soldier technicians, and when Milly issues the challenge of the boyfriend/girlfriend hats, Anya immediately climbs inside the Mordred in order to get Lelouch's hat as per Milly's order. There is a certain amount of social awkwardness and ineptitude to her as well. Despite between fifteen, Anya has not yet figured out to ask permission before taking pictures or not to unleash giant mecha for festival games because she feels like it.

Anya takes considerable comfort in the presence of her friends and people she can trust. They are few and far between as Anya is all too aware that as a soldier she could lose her comrades at any moment. A person who is unaffected by her lineface and deadpan tendencies can be endeared to her; just don't expect her version of endearment to be similar to anyone else's. For Anya, it's quiet company and the occasional bit of conversation. An example of this is fellow Knight of the Round Gino Weinberg. Rarely are they seen conversing, but it's not a stretch to say that they're attached to the hip for a good deal of R2.

Anya is not completely detached from the world around her either. While her damaged and incomplete memory causes her much turmoil, she seeks to fill it with information. She is the only one in the series who mentions the hilariously obvious correlation between Lelouch vi Britannia, dead prince of the Empire, and Lelouch Lamperouge, bored Britannian school boy to Lelouch himself. (It can be argued that noticing this is related to having Marianne as a mental hitchhiker or knowing of Lelouch's arrest at the hands of Suzaku, but the fact remains that she's the only one not told by Lelouch himself who makes a point of saying something to him.) When her memory fails her, Anya turns to intuition and cold facts.

In chess, Anya is the knight piece. She moves past her obstacles with given agility rather than shoving through with brute force, her movements the most versatile of any other piece. Knights are traditionally employed first for strategic advantage; an appropriate metaphor for someone who never shies away from the front lines in battle.

Where Anya is tepid, Marianne shines. Clever and playful, Marianne definitely makes an impression. She maintains a childlike view of the world and the people around her, as indicated by her immediate instinct to draw on a sleeping Suzaku's face with a marker because she could. Marianne is ambitious and capable, but holds to the ill-sought goal of instrumentality: use the power of Geass, of God, to rid the world of masks and lies. Marianne achieved great things, notoriety and fame and elevation beyond a commoner's life, but it was still not enough for her. Her appetite is insatiable, her ambitions lofty,

Of most people, once decorum is put away and the façade of Knight of the Round is switched off, Marianne is cavalier and dismissive. A person’s existence is defined by how they can best feed her ambitions, serve her needs. You can be useful, you can be amusing, but never will you be important. There are very few exceptions to this and even those exceptions – Lelouch and Nunnally – fall to the wayside when Marianne’s plans and dreams are threatened.

Marianne does love her children very much, and sought to remake the world for them as much as herself and Charles. However, a short-sighted woman, impetuous and self-centred and woefully unable to see her own failings and shortcomings, Marianne cast them aside with the thin excuse of acting in their best interests. Instead she put the goal and the plan before everything else, even her own offspring. She's utterly unable to see where she might be wrong, having come to believe herself invincible and untouchable. (After all, she survived death, and without a Code.) Even before that Marianne maintained an adolescent belief of invulnerability, attributed at least in part to her magnificent skill on the battlefield and her status as a Knight of the Round. She dismissed her personal guard to meet with V.V. late at night, putting implacable trust in herself and the situation.

In chess, Marianne would aspire to be the queen piece: the strongest, the king’s most trusted protector. However the job of a queen piece is ultimately sacrifice, an ironic reflection of the fate she’s so far eluded, and at severe odds with the liveliness, strength, selfishness and ambition she displays in every aspect of her life. Which is okay because no one in Code Geass knows how to play chess anyway.

History: Recorded.

Timeline: Episode 15.

Abilities: Anya is a Knight of the Round, one of the world's top ranking soldiers and Knightmare pilots. She can pilot a Knightmare Frame in battle with ease. Due to the fact of military training, combat training can be assumed. Although small and slight, she is no stranger to fencing, firearms, and some rudimentary hand-to-hand combat, able to exercise speed, agility, and cleverness in place of brute strength.

Marianne, likewise, presumably had considerable military and piloting training due to her status as a former Knight of Six. Marianne also has the ability of Geass, allowing her soul to transfer bodies (manifested after being riddled with bullets ten years prior) and use other people as her soul jar.

Inventory: One standard issue pistol with the safety engaged, a pink PDA, her KMF key, and her Knights of the Round uniform.

Link to an image of the character: La

Prose Sample:

Anya drags a toe along the deadened grass, eyeing the ground beneath her with her usual dispassion.

Her hands field through the cloak’s pockets, searching for the familiar curve of cool plastic. She finds it after a few seconds of searching and is suitably relieved. Even after a few minutes of keys and images and files, this place is still unknown, still uncertain. She doesn’t recognise the distinct landmarks or the outline of the forestry, or even the tinny voices through the communicator when she turns it on. The lack of familiarity hits a bit deep but she turns the communicator over and over in one hand, rather liking it – in a simplistic, childish way.

She likes it because the constant stream of noise makes it that much harder for her to get lost in her thoughts, even tangled up and taken away. She’s never sure where she goes during that times except for a clear, inexorable whiteness – and maybe it’s because of the silence, which makes her hate it a little.

Regardless, Anya takes a step, and another, and a third.

She fields through the welcome text, and the information provided – listings, catalogues, where’s safe and where isn’t. She’s quickly replicating it in her PDA, the device she trusts, word for word. She’s not willing to place trust in remembering it but she knows to keep the information handy.

It’s only when that is done does she really begin to move, back straight and head held high to take in her surroundings. She’s almost glad she can’t chalk this up to loss of memory, if it really is a foreign world governed by mythical creatures who treat people – and things that look like people – as their playthings. Circumstances beyond her control were highly better than losing control of Mordred in an episode of memory loss and waking up in an unknown clearing during the middle of a skirmish, unarmed.

It’s not her fault, and the way she cocks her head in silent acknowledgement is very… adolescent.

She can work with this. She just needs to continue walking.

Journal Sample:

[Anya nimbles over the communicator, her pulse beating shallow in her throat as she takes in the scenery, the high walls and cool air.

These times, waking up and having no idea where she is, why she's been left here, what could have happened--

Slowly, she extracts the pamphlet from the welcome basket, giving it a cursory read. A first, a second, a third.

Worse, better. She wills her hands to stop trembling, drawing up her knees under her. This... this is not befitting of a Knight of the Round.

Turning on the communicator,]

Who has assumed rank here, and how do I speak to them?