RP Hunt Will Roleplay for Flies

[Froshimaru]

Yes I am aware this is a monkey and not a frog, but I like it a lot.

WANTED: Roleplay Partner (Must Love Paragraphs)

REWARD: Engaging storylines, character development, and mutual creative fulfillment!​

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THE CLASSIFIED AD YOU DIDN'T KNOW YOU NEEDED​

You know those personal ads in the back of alternative newspapers? The ones that read like "SWF seeking SWM for long walks on the beach and philosophical discussions about whether hot dogs are sandwiches"? This is kind of like that, except instead of romance, I'm seeking a creative partnership. And instead of walks on the beach, we're walking through fictional worlds we build together.

I'm looking for someone who genuinely enjoys crafting stories - not just firing off quick responses between TikTok scrolls, but actually sitting down and thinking about character motivations, plot development, and whether your character would realistically say that thing you just made them say. Someone who won't vanish into the ether after three exchanges like a ghost who got bored mid-haunt. Previous experience with commitment-phobes not required, but a sense of humor about the whole creative process definitely helps. If you've made it this far and haven't clicked away, you might just be the person I'm looking for. Or you're procrastinating. Either way, keep reading.

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WHAT YOU'RE GETTING INTO​

Writing Level: Advanced Literate to Novella (translation: I write a lot, and I'm looking for someone who won't respond to my three paragraphs with "ok cool")

POV: Third-person perspective (because "I walked into the room" in a roleplay feels like writing a diary, and we're not thirteen anymore)

Minimum Length: 10+ lines per response (honestly, if you can summarize your character's entire existence in two sentences, we might have a problem)

Formatting Preference: Quotation marks for dialogue ("like this") rather than asterisks. I know, I know - asterisks are everywhere in the RP community. But trying to read action-heavy scenes written entirely in wiggly emphasis text makes my brain hurt. It's like trying to read a novel written in Comic Sans. Technically possible, but why would you do that to yourself?

I'm here to craft detailed, immersive narratives where characters actually have thoughts, feelings, and motivations beyond "looked at the sunset and smiled." Quality beats quantity every time, but let's be real - you need some quantity to have quality. Give me something to sink my teeth into. Give me inner monologue. Give me sensory details. Give me a reason to care.

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THE PLOT THICKENS
(BECAUSE WE ACTUALLY HAVE ONE)
​

Here's the thing: I need a plot. Like, genuinely need one. Asking me to "freestyle" a roleplay is like asking me to freestyle rap - theoretically I could do it, but nobody's going to enjoy the results and someone's definitely getting embarrassed.

So please, PLEASE, for the love of all that is creative: Come to me with a plot idea. A concept. A "what if?" A Pinterest board of vibes. A fever dream you had last Tuesday. Something. Literally anything except "hey" or "wanna rp?" or the dreaded "rp??" followed three hours later by "hello????"

I promise I'm friendly. I'm just allergic to starting conversations with zero context. Think of it like showing up to a potluck - you gotta bring something to the table. I'll happily brainstorm with you, expand on your ideas, or help troubleshoot plot holes, but I need a jumping-off point that's more substantial than "idk, you pick."

Genres I vibe with: Romance (the slow-burn kind), drama, slice-of-life, fantasy, adventure, supernatural, mystery, horror, and intense thrillers (psychological tension, suspense, the creeping dread kind - I'm here for it)

Genres that aren't my thing: Action-heavy plots (too many fight scenes and I start describing punches like I'm writing a recipe)

Content I don't do: Non-consent scenarios and gore for the sake of gore. I'm all for dark themes and psychological horror, but there's a difference between crafting atmospheric dread and just throwing shock value at the wall to see what sticks.

About Romance: Listen, I love a good love story. I will devour a well-crafted romance plot like it's chocolate cake at midnight. BUT - and this is a big but - I need it to build naturally.

I don't do "love at first sight" unless we're talking about pizza. Characters need time to develop feelings. They need to have conversations. Share experiences. Bond over mutual trauma or shared interests or accidentally-on-purpose brushing hands while reaching for the same book.

What I'm NOT looking for:

• "And then Alex suddenly realized they were in love with Morgan" (suddenly? SUDDENLY? Based on what, the vibes?)
• Characters who fall head-over-heels because someone smiled at them once
• Instant attraction with no substance (that's not romance, that's a hormonal emergency)

What I AM looking for:

• Gradual realization of feelings "Oh no, I care about them" moments
• Awkward tension that builds over time
• Characters who are already together (established relationships are great)
• Natural chemistry that makes readers go "JUST KISS ALREADY"

Planning Timeline: Anywhere from 5 minutes to a couple days. I might ask approximately seven thousand questions like "What year is this set in?" "Where does the story start?" "What's your character's motivation?" "Why is the sky blue?" (Okay, maybe not that last one.) I just like to know what we're working with before we dive in.

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A REALISTIC DISCUSSION ABOUT TIME
(And Why I'm Not Actually Ignoring You)
​

Real talk: I have a life outside of roleplaying. Shocking, I know.

I have a job. I have responsibilities. Sometimes I'm tired. Sometimes I'm busy. Sometimes I'm staring at my phone trying to figure out how to respond to your latest reply because you just dropped a BOMBSHELL plot twist and I need to do it justice.

My response time is anywhere from:

• 30 seconds (if I'm already online and inspired)
• 30 minutes (if I'm free and the words are flowing)
• 3 hours (if I'm at work/eating/living my life)
• 3 days (if life decided to be A Lot that week)

Things that might delay my response:

• Work (the audacity of employers expecting me to actually work during work hours)
• Sleep (While I am night owl; I'm NOT a day pigeon and suffer bouts of sleepy during the day)
• Life emergencies (they happen)
• Executive dysfunction (sometimes the brain just says "no writing today")
• Not being in the mood (creativity isn't a faucet I can just turn on)

Time zones are REAL: It might be 3 PM for you and 2 AM for me. If I don't respond immediately, I'm probably unconscious, not ignoring you. (BTW I am Central Standard Time)

Here's what I need from you: PATIENCE. Beautiful, generous, understanding patience.

I will be patient with you because I'm a reasonable human being who understands that you also have a life. You have responsibilities, hobbies, a circadian rhythm. Maybe you're in a different hemisphere. Maybe you're fighting a boss in a video game. Maybe you just don't feel like writing today. That's fine.

Here's what will make me leave the chat faster than you can say "where did they go?":

• Spamming me with "hello?" "u there?" "get back on!" "did you die?"
• Guilt-tripping ("guess you don't care about our rp anymore")
• Getting passive-aggressive about response times
• Generally treating me like a content-generating robot instead of a human person

I'll communicate when I need to step away for a while. I ask that you do the same. We're collaborators, not hostages.

If you're the kind of person who gets anxious after 20 minutes without a response, we're probably not compatible, and that's okay. There are plenty of people out there who can match rapid-fire response times. I'm just not one of them. Know thyself, and know thy RP partner's limitations.

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CHARACTER CREATION: A GENTLE MANIFESTO​

OCs (Original Characters): Love them. Adore them. Bring me your well-developed, three-dimensional characters with flaws, quirks, and reasonably achievable power levels.

What I'm looking for:

• Characters with realistic strengths AND weaknesses
• Personalities that aren't just "nice" or "badass"
• Believable backstories (tragic is fine, but not trauma Olympics)
• Character growth potential
• People who feel like people

What makes me nervous:

• Overpowered characters who can do everything perfectly (where's the conflict? where's the struggle? where's the STORY?)
• Mary Sues/Gary Stus (you know the ones - beautiful, tragic, everyone loves them, can do no wrong, probably has heterochromia and a japanese name)
• "Attention-seeking" character designs (I don't know how else to describe it, but if your character's entire personality is their trauma, we need to workshop this)

Let's talk about character illnesses/conditions!!​

This is going to sound harsh, but I promise it's coming from a place of wanting good storytelling, not being heartless.

Real people have mental illnesses, chronic conditions, disabilities, and trauma. Real people are complex and deserve representation. I am NOT saying your character can't have any of these things. (some of mine do)

What I AM saying is: Please don't hand me a character whose bio reads like a medical textbook's index.

"Has insomnia, depression, anxiety, PTSD, bipolar disorder, cancer, amnesia, and a gluten allergy" is not a personality - it's a cry for help (or a symptom of not knowing how to create conflict organically).

Good character complexity: A character with PTSD from a specific traumatic event that affects how they interact with the world and forms a meaningful part of their story arc.

Overwhelming character design: A character who has every mental illness you Googled last night because you thought it would make them "interesting."

If your character has conditions/illnesses/disorders, ask yourself:

• Do I understand this condition well enough to portray it respectfully?
• Is this relevant to the story, or am I adding it for drama?
• Can I name a personality trait that ISN'T related to their trauma/illness?

(Also, if YOU need advice or support, please reach out to moderators or actual professionals. I'm a roleplay partner, not a therapist. I'm here to write stories, not provide crisis intervention. I can be a friend, but I can't be your mental health support system.)

Canon Characters: Sure, let's do it. Fair warning though - I might not know every character from every fandom. I'll do my research and try my best, but if I get something wrong, please just let me know instead of getting mad.

If you make a canon character wildly OOC (out of character), I'll mention it. If you make them more OP or more depressed than they actually are in canon, I'll say something. If you continue after I've brought it up, I'll politely exit stage left.

We're writing fanfiction, not fanfiction-that-completely-misses-the-point-of-the-original-character.

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THE "DEALBREAKERS" SECTION
(Or: How to Make Me Leave Faster Than Dad Going for Cigarettes)​

GODMODDING (The Cardinal Sin)

Do NOT control my character. Not a little bit. Not even slightly. Not even if you think you're "helping" or "keeping the roleplay going."

Examples of godmodding (to me):

• "Alex grabbed Morgan's hand and Morgan smiled back" - NOPE. You don't get to decide how Morgan reacts.
• "Morgan suddenly felt attracted to Alex" - NOPE. That's not how feelings work, and it's definitely not your call.
• "Morgan dodged but got hit anyway" - I'M SORRY, WHAT? Did they dodge or get hit? You can't have it both ways.

I will either call you out for it or ignore it entirely and pretend it didn't happen. If you keep doing it, I'm out. No hard feelings, but I'm not a puppet master, and my character isn't your puppet.

LAZY ROLEPLAYING (The Slow Death of Creativity)

I HATE "carrying" the roleplay. You know what I'm talking about.

When I write three paragraphs of introspection, environmental description, character movement, and dialogue, and you respond with "[Character] just stands there" or worse, "Yeah" - THAT'S NOT A RESPONSE, THAT'S A CONVERSATION ENDER.

I feel like I'm dragging a boulder uphill while you watch and occasionally poke it with a stick. It's exhausting. It's boring. It makes me want to fake my own death and start a new account in witness protection.

Both of us need to contribute to making the plot interesting. Both of us need to introduce new elements, respond to situations meaningfully, and actively engage with the story.

This is a collaboration, not a one-person show with an unenthusiastic audience member.


RELATIONSHIP DYNAMICS ARE ALL THE RAGE THESE DAYS

Pairings I write: BxG (boy x girl), BxB (boy x boy)

Pairings I don't write: GxG (girl x girl)

Not because there's anything wrong with them - they're just not what I personally write. Know your comfort zone, write what you know, all that jazz. Also I have in the past and can in the future write a girl character, just wlw isn't my cup of tea because I know I cannot write it to a quality I'd wanna read.

What drives me up the wall:

• Forced romance with zero chemistry
• "Alex suddenly likes Morgan" - NO. FEELINGS DON'T WORK LIKE THAT. There needs to be a REASON.
• One person deciding both characters' feelings (that's not romance, that's dictating)
• Controlling my character's emotions or attraction
• Skipping the entire "getting to know you" phase and jumping straight to "I would die for you"

Let it breathe. Let it build. Let there be awkward moments and accidental touches and gradually realizing "oh no, I have Feelings."

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BEHIND THE SCENES
(The OOC Zone)​

Use "//" or "))" for out-of-character chat. It keeps things clear and prevents confusion like "Wait, is your character actually asking mine if they want pizza, or are YOU asking ME if I want pizza because it's dinner time?"

Small OOC details are great. Things like "// Oh, by the way, my character is about 5'8" //" or ")) Just so you know, she has a scar on her left hand from a childhood accident))" or "// He's wearing a blue jacket in this scene //" - these little clarifications are perfect. Keep them coming.

Time skips: Sometimes necessary. Sometimes appropriate. But we need to AGREE on them first.

Don't just randomly hit fast-forward because you got bored with the current scene. That's like skipping to the end of a movie because the middle was slow - you miss important stuff. We'll discuss it, agree on what happens during the skip, and then jump ahead together. Democracy in action. Beautiful.

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GRAMMAR POLICE
(I'm Not a Cop, But I Do Have Standards)​

Look, I'm not asking for perfection. I'm not even asking for an A in English class. I'm just asking for effort.

I understand:

• English might not be your first language (totally fine - I'll work with you)
• Typos happen (I make them ALL THE TIME)
• Sometimes you type fast and autocorrect has a vendetta against you
• Brains don't always brain correctly

What I need:

• Proper punctuation (periods, commas, the occasional semicolon if you're fancy)
• Capitalization at the start of sentences and for proper nouns
• Readability (I shouldn't need a decoder ring to understand what you wrote)
• Self-correction when you catch mistakes (just a quick "// their, not there, my bad" is perfect)

If these become consistent issues, I'll probably apologize and bow out. Not because I'm a jerk (I hope), but because trying to decipher what you're saying takes me out of the story, and then neither of us is having fun.

Reading "[character name] went to store they was happy they buy thing they like" instead of "[Character] went to the store. They were happy to buy something they liked" is like trying to watch a movie with constant buffering. Technically I can follow along, but it's not enjoyable.

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HOW TO APPLY FOR THIS POSITION​

DO:

• Send me a plot idea or concept
• Tell me what genres you're interested in
• Share character ideas if you have them
• Ask questions about what I'm looking for
• Be friendly and approachable

DON'T:

• Send "hey" with no context
• Send "wanna rp?" and nothing else
• Send "rp??" like you're trying to conserve letters
• Get mad when I don't respond to vague openers

Think of it like a job application, but fun: You wouldn't walk into an interview and just say "job?" would you? (If you would, we have bigger problems.) Give me something to work with. Sell me on your idea. Make me excited.

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IN CONCLUSION​

I'm looking for a creative partner who loves writing detailed, engaging stories, can communicate like a human being, understands that we both have lives outside of this forum, won't control my character like a puppet, actually contributes to the plot, and has a sense of humor about this whole thing.

If you've read this far and you're nodding along thinking "yes, this person gets it," then congratulations - you might be exactly who I'm looking for.

Slide into my DMs with a plot idea, and let's create something awesome together.

No time-wasters, no ghost writers (unless we're literally writing a story about ghosts), no godmodders.

Serious inquiries only. But like, not TOO serious. We're writing pretend stories about pretend people. Let's have fun with it.​

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This ad will self-destruct in never because I'll probably be searching for partners forever. Such is the roleplayer's curse.​

 

[Froshimaru]

STILL HERE? LET'S DO THIS!​

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So you've read through my entire manifesto about proper punctuation, the horrors of godmodding, and why I won't reproduce song lyrics even if you ask really nicely. You've nodded along to my rants about carrying roleplays and the correct usage of quotation marks. You've survived my tangents about character development and the pitfalls of giving your OC every medical condition known to science.

And you're still here?

THAT'S AMAZING.

Seriously. You're either incredibly patient, a glutton for punishment, or - and I'm really hoping it's this one - exactly the kind of person I want to write with.​

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WHAT HAPPENS NEXT?​

Option One: Browse My Character Collection

Head over to Froshi's Ribbiting Cast of Characters and take a look at the roster. I've got a variety of characters with different personalities, backgrounds, and potential story hooks. Maybe one of them will spark an idea. Maybe you'll read through their bios and think "oh, I have the perfect character to pair with this one." Maybe you'll be inspired to create something entirely new based on what you see. Maybe one day I'll flesh them all out so they're consistent!!!

If someone catches your eye, great! If not, that's fine too - we've got other options.

Option Two: Check Out My Plot Ideas

Swing by my next post where I've listed some plot concepts I've been dying to try. These range from the vague and flexible ("two strangers meet under mysterious circumstances") to the oddly specific ("1920s paranormal investigators but make it a romantic comedy"). Some are serious, some are silly, some are somewhere in between.

Feel free to take one as-is, use it as a jumping-off point, or mash two together because you think they'd work better as a combo deal.

Option Three: The DIY Approach

Don't see any plots listed? Did the sun explode and take my plot post with it? No worries - I've got flashlights and an imagination, and we can figure this out together.

This is where things get really fun. We can brainstorm something completely unique. Build characters from scratch. Create a world that exists nowhere else. Develop a story that's tailored specifically to what we want to write, not what some pre-made template tells us to do.

A UNIQUE STORY AND UNIQUE OC BUILT ENTIRELY FOR YOU.

FOR FREE.

(I mean, obviously it's free. I'm not charging for roleplay. But doesn't it sound more exciting when I say it like an infomercial?)​

Think of it like this: You bring your ideas, your interests, your "I've always wanted to try this" concepts. I bring mine. We smash them together like we're in a creative particle accelerator and see what happens. Maybe we get something brilliant. Maybe we get something weird. Maybe we get something brilliantly weird.

The point is - it'll be ours.

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SO HOW DO WE MAKE THIS HAPPEN?​

Send me a DM. Seriously. Just slide into those direct messages with your idea, your character interest, or even just "hey, I read your entire post and I'm interested in writing something together."

You can also post here in the thread if you prefer, but fair warning - DMs will probably get a faster response. I check those more frequently, and it's easier to have a back-and-forth conversation without cluttering up the thread.

What to include in your message:

• Which option you're interested in (my characters, my plots, or creating something new)
• Any specific genres or themes you're craving
• A brief idea of what you're looking for (even if it's just "I want something with horror elements" or "I'm in the mood for a slow-burn romance")
• Your favorite pizza topping (okay, this one's optional, but now I'm curious)

Don't overthink it. You don't need to write a novel in that first message. Just give me enough to work with so we can start the conversation. Remember - I'm the person who spent several thousand words explaining why you shouldn't just send "hey wanna rp?" but I'm not expecting you to match that energy in your initial message. A few sentences about what you're interested in is perfect.

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FINAL THOUGHTS​

If you've made it this far, you clearly have the attention span for long-form content, which bodes well for our potential partnership. You've demonstrated that you can read through detailed information without your eyes glazing over. You understand that I take this hobby seriously while still maintaining a sense of humor about it.

That's exactly what I'm looking for.​

So what are you waiting for? Hit that DM button. Tell me what kind of story you want to tell. Let's create something worth reading.

I promise the actual planning process will be way more fun than reading rules and guidelines. We'll brainstorm, we'll laugh about our characters' terrible decisions, we'll probably spend way too long debating minor plot details because we're both invested in getting it right.

And honestly? That's the best part.​

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TL;DR: Check my character list, check my plots, or let's make something new. DM me. Let's write something awesome together.

I'm excited to hear from you!​

 

[Froshimaru]

PLOT IDEAS

A Collection of Stories Waiting to Be Told
​

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Below are some plot concepts I've been dying to explore. Think of these as starting points - frameworks we can build on together, twist around, or use as inspiration for something completely different. Plots may be added or removed over time as my interests shift or ideas get claimed, so check back periodically if nothing catches your eye right now.

If one of these speaks to you, let me know and we can develop it further! And if a plot mentions specific characters, I'll make note of that so you know what you're working with.
​

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THE LIGHTHOUSE KEEPER
Genre: Gothic Romance/Mystery | Tone: Atmospheric, Slow-Burn

There's a lighthouse at the edge of a small coastal town, perched on cliffs that overlook a stretch of ocean known for shipwrecks and strange stories. My character is the lighthouse keeper - has been for years, living in isolation and doing a job that most people think is obsolete in the age of modern navigation. But the lighthouse still runs every night without fail, and he takes his responsibility seriously for reasons he doesn't share with the handful of townspeople who even remember he exists.

Your character arrives in town for their own reasons - maybe you inherited property, maybe you're researching something, maybe you're running from something and this seemed like a good place to disappear. You're curious about the lighthouse and the man who lives there, and despite his initial reluctance to engage with anyone, somehow you keep ending up in each other's orbit.

The more time you spend around him and the lighthouse, the more you realize something is off. The light doesn't just guide ships - it keeps something at bay. Something in the water, or maybe something older than that. He's not just a lighthouse keeper; he's a guardian, maintaining a barrier that's been in place for longer than anyone remembers. And now that barrier is weakening.

This is gothic romance with mystery and supernatural elements - atmospheric and moody with a slow-burn romance developing as two isolated people find connection while dealing with forces they don't fully understand. Think isolation, old secrets, things that go bump in the night, and finding love in unexpected places.
​

Potential Dynamics: Isolated keeper x Curious newcomer, gothic atmosphere, ancient secrets, protective hero, slow-burn romance, small-town setting, supernatural mystery​

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THE ARCHIVIST'S CURSE
Genre: Supernatural Horror | Tone: Dark, Atmospheric


There's an old library on the edge of town that nobody talks about anymore. It's been abandoned for decades, or at least that's what people say. But your character - a graduate student researching local history, or maybe someone who just inherited property in the area - discovers that someone has been maintaining it this entire time. My character has been the librarian there for longer than should be possible, bound to the building by something that happened years ago. Something he can't quite remember clearly anymore.

The library has a collection that shouldn't exist. Books that were never published, journals from people who never existed, newspapers reporting events that never happened. And the more your character reads, the more the line between what's real and what's written starts to blur. People from the books start appearing. Events start happening. And my character knows that once you read certain things, you can't unread them.

The horror here isn't jump scares - it's the slow realization that reality is thinner than we think, and that some stories don't want to stay on the page. It's about obsession, forbidden knowledge, and the price of curiosity. There's potential for a dark slow-burn here too, as your character keeps coming back despite knowing they shouldn't, and my character is torn between warning them away and wanting someone to finally understand what he's been guarding all these years.
​

Potential Dynamics: Mysterious librarian x Curious researcher, forbidden knowledge, isolation, creeping dread, slow-burn romance mixed with horror​

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THE STOLEN CROWN
Genre: High Fantasy/Political Intrigue | Tone: Epic, Morally Complex


The kingdom is in chaos. The rightful heir to the throne - your character - was supposedly killed years ago during a coup that put a new ruling family in power. But you survived, hidden away and raised in secret, waiting for the right moment to reclaim what was stolen from you. Now that moment has come, and you need allies who can help you take back the crown.

My character is a mercenary commander with a complicated past. He's got no love for the current regime - they destroyed his home and scattered his people during their rise to power - but he's not exactly the noble hero type either. He fights for coin and survival, not causes. But when you approach him with an offer he can't refuse, he agrees to help you raise an army and march on the capital.

The problem is that taking back a throne isn't as simple as winning battles. There are rival claimants, noble houses playing both sides, magical forces that have their own agendas, and the question of whether your character is actually ready to rule or if you're just chasing a crown because it's what you're supposed to want. And my character has to figure out if he's fighting for a cause he believes in or if he's just found a better paycheck.

This is high fantasy with political intrigue, morally grey characters, and a slow-burn romance between two people who start as reluctant allies and have to figure out if they're fighting for the same thing. There's magic, warfare, courtly politics, betrayal, and the question of what it really means to be a leader.
​

Potential Dynamics: Exiled royal x Mercenary commander, political intrigue, forced alliance to partnership, morally complex decisions, epic fantasy setting, slow-burn romance, war and strategy​

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THE BREAKING POINT
Kieran Blackmane
Genre: Dark Fantasy/Psychological Horror | Tone: Visceral, Introspective, Desperate


Kieran is running out of time. He can feel it in the way the beast fights harder each crossing, in the way his control slips just a fraction more after every mission, in the way pain lingers longer and cuts deeper. He's twenty-eight, and the math is simple: Garren broke at forty-something, Mira at thirty-four. He's got maybe five years left before he goes monstrous, and the mission still isn't complete.

The Council sends him after the last three witch bloodlines, pushing him harder than ever because they know he's their final weapon. But something is wrong. The witches he's tracking aren't what he expected. They're fragmented, desperate, some of them barely aware of their own heritage. And they're dying anyway, picked off by something else entirely. Something that leaves bodies twisted and drained in ways that don't match witch hunters or werewolf kills.

Your character is a supernatural investigator, someone who walks the boundaries between the ordinary and the occult. Maybe a practitioner who works for a clandestine organization, maybe an independent operator with their own complicated relationship to magic. They've been tracking a series of murders that don't add up, and the trail leads directly into Kieran's path. They realize quickly what he is - and more importantly, that he's not responsible for the kills they're investigating.

Someone, or something, is hunting the same targets Kieran is. And they're doing it in ways that suggest they know exactly what the Blackmanes have been trying to accomplish, and they're sabotaging it. The question is why. And whether Kieran can trust someone who should be his enemy long enough to figure out what's actually happening before his time runs out.

This is dark fantasy with horror elements, a ticking clock on Kieran's humanity, and an uneasy partnership with someone who understands the occult in ways he doesn't. There's the investigation, the deterioration of his control, the question of whether completing the mission even matters anymore, and what it means to cooperate with someone when you've spent your entire life as a weapon.
​

Potential Dynamics: Monster hunter x Supernatural investigator, reluctant partnership, shared investigation, ticking clock on humanity, dark fantasy horror, slow erosion of barriers, question of purpose vs survival​

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THE LOST CLAN
Kieran Blackmane
Genre: Dark Fantasy/Action Adventure | Tone: Brutal, Exploratory, Redemptive Potential

The Blackmane Clan sends Kieran on what should be a routine tracking mission. Reports have surfaced of unusual werewolf activity in the remote wilderness of Northern Canada - wolves who can cross into the human world without the curse's rejection, who move between realms like it's nothing. The Council wants to know if it's true, and if so, how it's possible. If there's a way to break the curse that doesn't involve seven generations of murder, they need to know. And if it's a threat, Kieran needs to eliminate it.

What he finds instead is a lost branch of werewolves who were never part of the clans that remained after the banishment. They're feral, isolated, and they've adapted to exist in the spaces between worlds. They don't maintain the old clan structures, don't care about breaking the curse, and they sure as hell don't trust a Blackmane showing up on their territory asking questions. They've survived by rejecting everything Kieran was raised to value: duty, purpose, the mission. They just exist.

Your character is part of this lost clan, or perhaps someone who's been living alongside them. Maybe you were born into it, maybe you fled there from another clan, maybe you're something else entirely - human-raised, werewolf by blood, trying to figure out where you fit. You're assigned to watch Kieran, figure out what he wants, and decide if he's a threat that needs removing or if the Blackmanes' last hunter is finally asking the right questions.

Kieran is a weapon who's never questioned his purpose. Your character represents a life where werewolves aren't defined by the curse, by the mission, by the war. And Kieran has to decide if he reports back to the Council with information that might doom the lost clan, or if there's something here worth protecting. Even if it means betraying everything he was made for.

This is dark fantasy with exploration elements, a clash between duty and the possibility of another way to exist, and the slow realization that the mission might have always been the trap. There's wilderness survival, cultural conflict between werewolf philosophies, action when the Council sends others to finish what Kieran won't, and the question of whether you can choose a different path when your entire identity is built on the one you were given.
​

Potential Dynamics: Clan enforcer x Lost clan werewolf, cultural clash, duty vs freedom, dark fantasy action, chosen purpose vs discovered purpose, potential redemption, question of what it means to be more than a weapon​

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TRANSIT THEORY
Rowan Castellanos
Genre: Science Fiction/Mystery | Tone: Melancholic, Contemplative


There's a train route that doesn't appear on any official schedule. Your character keeps ending up on it anyway, catching it by accident in different cities across Europe. Warsaw to nowhere. Budapest to somewhere that doesn't have a name. The other passengers are always the same faces, though they never acknowledge each other, and the journey always takes exactly four hours and seventeen minutes regardless of the distance traveled.

Rowan has been riding this train for three years, or maybe it's been three weeks. Time works differently here. They're a former war photographer who got on in Berlin trying to outrun their memories and never quite managed to get off. They've figured out some of it: the train exists in the spaces between destinations, traveling through the gaps in reality that open up when no one is paying attention. It picks up people who are running from something, people who exist in perpetual transit, people who have nowhere they need to be.

Your character fits the profile perfectly. Maybe you're running too. Maybe you just missed your connection and took the wrong train. Either way, the train recognizes you. Keeps pulling you back. And Rowan recognizes something in you too: another person who understands that sometimes the journey is safer than the destination, that sometimes you need to exist in the in-between where the past can't find you and the future hasn't solidified yet.

But the train is changing. The loops are getting shorter. The other passengers are starting to fade, becoming translucent, losing coherence. Rowan's photographs of the journey show impossible things: stations that don't exist, landscapes that contradict geography, moments captured out of sequence. Their documentation suggests that the train is collapsing, that the space it travels through is closing. Everyone on board will have to choose: get off at the next real stop and face whatever they've been running from, or stay on until the train phases out of existence entirely and takes them with it.

This is about two perpetual wanderers finding each other in liminal space. It's about the comfort of motion without destination, the terror of being forced to stop running, and whether connection is possible between two people who are both trying to disappear. There's potential here for quiet intimacy in borrowed time, conversations in empty train cars at 3 AM, the slow realization that maybe the thing you've been running from is the same thing you've been running toward.
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Potential Dynamics: Two wanderers x Impossible journey, liminal spaces, chosen isolation vs. forced connection, the physics of running away, quiet moments stolen from collapsing reality, soft sci-fi romance​

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THE EMPTY FRAME
Rowan Castellanos
Genre: Psychological Thriller/Drama | Tone: Intimate, Tense, Grounded

There's an art gallery in Copenhagen that specializes in conflict photography. Not the sanitized kind that wins awards and hangs in museums, but the raw, difficult kind that makes people look away. Your character sees a flyer for their new exhibition and recognizes three of the photographs immediately. Not because you took them, but because you were there. You were in the frame, or just outside it, in one of those moments that gets documented and never forgotten.

Rowan is the photographer. Four years ago, they stopped shooting in war zones after something broke inside them that wouldn't heal. They've been traveling ever since, trying to photograph peace instead of violence, trying to prove the world contains more beauty than horror. But their old agency convinced them to allow one final exhibition. A retrospective. A goodbye to that version of themselves. They agreed because they thought it would be closure, a way to let go of the work that nearly destroyed them.
They didn't expect anyone from the photographs to show up. Didn't expect to meet someone who was there, who remembers those moments from the other side of the lens. Someone who has their own scars from the same places, the same events. Someone who might see Rowan's work not as art or documentation but as evidence. As receipts for the worst days of their life.

The gallery opening becomes a confrontation, or maybe a confession, or maybe something more complicated. Your character has questions about why Rowan took those particular photos. Why they were there. What happened after the shutter clicked. Whether the act of witnessing helped or hurt. Whether Rowan stayed or left, and what that says about both of you. And Rowan has to face not just their past work but the human cost of it, embodied in someone standing in front of them asking for answers they don't have.

This is grounded horror. No supernatural elements, just the very real terror of confronting your past and the people who were collateral damage in your attempts to document truth. It's about complicity, about the ethics of bearing witness, about whether you can build something real with someone who has seen you at your worst or documented their worst. There's potential here for messy, complicated connection between two people bound by shared trauma and radically different perspectives on the same events.
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Potential Dynamics: Photographer x Subject of past work, shared trauma from opposite angles, guilt and forgiveness, ethical complexity, the weight of documentation, confrontation leading to understanding, slow-burn healing, realistic exploration of PTSD and recovery​

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