Elsa of Arendelle (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
thegoodgirl) wrote2014-06-07 01:45 pm
thegoodgirl) wrote2014-06-07 01:45 pm
[application]
→ IC
□ Name: Elsa of Arendelle
□ Journal: thegoodgirl
□ Series: Frozen
□ Canon point: Just after fleeing into the mountains, before Let It Go
□ History: At the Disney Wiki
□ Personality:
Elsa is her own worst enemy. Ever since she was very young, she has been taught that her emotions are dangerous, something that must be locked away and concealed - and she's tried her best to do exactly that. The problem is that her feelings are powerful; in fact, they're so powerful that whenever they inadvertently escape, her magic talent of ice and snow embodies whatever it is that she's experiencing. And since most of her emotions are negative, that can have a very bad outcome for anyone who happens to be near her.
It wasn't always like this. As a child, Elsa loved to use her powers to entertain her sister Anna. Both the girls viewed them with joy and wonder, a source of fun, and Elsa never worried about controlling her magic. It was simply there, a gift to be called upon whenever she wanted it. Everything changed after she accidentally hurt Anna as they played. Her parents and the wise old troll they rushed Anna to both made it clear that what had happened was Elsa's fault, and the experience woke guilt, fear and responsibility in the little girl. These are the emotions that now rule her life.
Outwardly, Elsa tries very hard to be the 'good girl', the perfect queen she has been taught she should be. The good girl is calm, composed, regal and solemn. She is cool and reserved, capable of socializing with her subjects but never showing particular favor to any of them. She takes courtly etiquette in her stride and maintains an unruffled appearance at all times. Despite the inner turmoil of emotions she experiences, Elsa nonetheless manages to keep this facade up surprisingly well when she has to spend time in the company of others - she endures her coronation and almost the entire ball afterwards without her guests noticing any sign of discomfort. But she very much prefers to be alone, locked away and isolated the same way she's been for most of her life, where she doesn't have to worry about her powers breaking free.
The guilt and fear that come with every emergence of her powers have driven Elsa to be almost completely alone. She is frightened of herself - of what she can do, and of what might happen if she loses control again. She's also terrified that someone else might find out about her magic, and condemn her as a monster. Even the slightest break in her self-control - a moment of wistful desire to be outside playing, for example - can mean that the room around her starts to turn to ice. With such small outbreaks of emotion causing her to become so quickly afraid, and thus to set off her magic, it's no wonder that Elsa does her best to feel nothing at all. Her fear of her powers being revealed is so strong that she stays inside through all the years of Anna begging her to come out and play, and even stays away from her parents' funeral for fear of what will happen if her grief is expressed. But the more she tries to control herself, the stronger her emotions become, and the harder it is for her to contain them.
Even after Elsa has fled into the mountains to escape, she is only truly emotionally free when she's alone. When there's no one else to worry about, to be responsible for, to fear for, Elsa is capable of incredible feats of creativity, beauty and brilliance. Her ice palace in particular is the work of an artist. It becomes clear in these moments, and in a few scattered instants throughout the rest of the film, that Elsa is not just a frightened, guilt-stricken young woman. When she's free to be herself, Elsa has an almost childlike sense of joy and wonder, particularly seen in Olaf the snowman - a creation formed from a half-buried memory of happy times playing with her sister. She becomes playful, almost mischievous, a trait that also surfaces when she convinces the Duke of Weselton to dance with Anna instead of Elsa herself. It's clear that the happy child Elsa used to be has not entirely disappeared, just been buried under an avalanche of fear.
□ Age: 21
□ Gender: Female
□ Appearance: As befits someone who can control the winter, Elsa's coloration is icy cool - her hair is a silky platinum blonde, her skin luminously fair, and her eyes a brilliant blue. Slender, graceful and elegant, she prefers to wear long, regal dresses and keeps her hair perfectly braided. In contrast to her sister, Elsa is almost always composed and controlled with every detail of her hair and clothing neatly arranged. At the canon point she's being taken from, she always wears gloves in an attempt to keep control over her powers by ensuring she cannot touch anything.
□ Abilities/Powers:
Elsa's ability to manipulate ice and snow and what is created varies dramatically according to whether she's trying to stop the power or letting it flow through her, and her emotional state at the time. When she's feeling threatened, afraid or angry and/or trying to hide her power, it can escape her control and manifest as a protective force, creating icicle walls and flying shards of ice to block or attack perceived threats. She can also use her magic to defend herself deliberately, and as a means of attack when she sees no other choice than to fight back. Even under extreme circumstances, however, she uses her power to hold off threatening enemies rather than immediately killing them, which she could very easily do.
When she's happy, relaxed and actively using her power, it becomes a force of creation rather than destruction. Elsa can create very large ice structures, up to and including an entire and intricately detailed ice castle, design a beautiful icy gown for herself, and is also capable of creating ice and snow creatures such as Olaf the snowman and a protective snow monster. She can freeze very large quantities of water, most notably her kingdom's seaport and fjords, and set off massive snowstorms that are capable of covering and freezing most if not all of her kingdom.
At her current canon point, Elsa does not yet know that using love and joy are the key to thawing the snow and ice that inevitably arise when she experiences distressing emotions. It takes the entirety of Frozen before she realizes that she is even capable of reversing her powers to melt and thaw rather than freeze everything around her.
Perhaps Elsa's most frightening and unpredictable power is her ability to freeze a person's head or heart. Unlike all her other powers, she seems completely unable to control it; this power emerges only when she's absolutely terrified, her fear manifesting in blasts of magical ice. If someone's head or heart are frozen, and nothing is done to save them, their fate is to turn to ice - and remain that way forever. A person struck by one of Elsa's freezing blasts will slowly become colder and colder; they begin to shiver more and more, their hair turns white, and frost creeps through them until it covers their entire body.
Depending on whether the head or the heart has received the icy blow, the means of saving the person differs. The head, as the wise old troll who saves Anna as a child says, 'can be persuaded'; with his magic, and presumably with similar magic, the ice can be removed from a stricken person's head, leaving them largely unharmed (although a lock of Anna's hair remains white even after the troll's best efforts). On the other hand, the only way to thaw a frozen heart is an act of true love - the most magical force of all. In this respect familial love, and presumably the love of a friend, is just as effective as romantic love, and either the frozen person or someone who loves them are able to perform the act of true love that will save them. The act of true love as a means of healing a frozen heart restores the healed person completely, leaving no mark. In Anna's case, it is so effective that it even changes her lock of white hair back to its original red.
Elsa is also immune to the cold, and can stroll blithely through deep snow without any discomfort (not to mention wearing the gown she creates with her powers).
□ Personal Items:
-Coronation dress
-Two pairs of gloves
-Her crown
-Boots, stockings and underwear
□ First Person Sample:
[Anyone who's ever been in a starter apartment will recognize one when it appears on the network - plain and bare, with no sign yet of what kind of person inhabits it.
Or almost none. There is a crown, neatly placed on the bed, perfectly centered at the foot. And there are scraps of paper scattered here and there on the floor, the video briefly flicking over them. Someone who can read very fast might make out a few words, here or there - Has anyone heard of Arendelle, and Does anyone know what it's like outside the gates, and Anna?. Elsa's been practising, trying to find words. And trying to find courage.
Her gaze moves to the window, where Ariel's lights flicker faintly. From the positioning of the camera, she's sitting on the floor, back pressed against her wardrobe, and if anyone's listening closely they'll hear the sound of breathing - a little too fast, a little bit shaky.
The video feed goes dark, not as though it's been cut off, but rather as if the person responsible has shut their eyes. And then there's a voice, calm and steady, perfectly unruffled. It's not at all the kind of voice that seems like it would belong to those scraps of paper, that frightened breathing.]
All the things they tell you in...re-education.
Are they true?
□ Third Person Sample:
She's never felt anything like this before. It's pulsing through her body, a strange kind of throbbing that intensifies whenever she moves too close to another person. As if she needed another reason to stay away... Elsa stumbles through the streets, cloak clutched tightly around herself, head bowed as though she's walking through a storm. There's no storm here - or not outside, anyway. Inside, the swirling tumult of feelings is stronger than ever. All that's keeping her walking is the desperate need to find somewhere to be alone.
And the thing is the guards laughed - not unkindly, she doesn't think, but it's very hard to tell - they laughed, and said they finally let you out, huh?, even though she's never been here before. She's never been in there before. She never wants to be in there again. But they said to avoid going back, she has to -
Elsa doesn't want to think about what they said she has to do. When she does, fear roars in her like a blizzard, her mind going white with terror. It's the kind of feeling that makes the power come, and they said the power wouldn't come but there's no way she can take that kind of risk. She knows what to do in situations like this. If she concentrates, if she thinks about anything other than what's happening, the feelings can be stamped down, ignored. That's how it works. Or at least how it works most of the time, and now really isn't the time to try something different. So she's concentrating as hard as she can on each step, one foot in front of the other, and doing her best not to think about - anything. Not the words, not that place, and most definitely not the way heat rises inside her when her arm brushes against a passerby's.
All she wants is to be alone.
□ Name: Elsa of Arendelle
□ Journal: thegoodgirl
□ Series: Frozen
□ Canon point: Just after fleeing into the mountains, before Let It Go
□ History: At the Disney Wiki
□ Personality:
Elsa is her own worst enemy. Ever since she was very young, she has been taught that her emotions are dangerous, something that must be locked away and concealed - and she's tried her best to do exactly that. The problem is that her feelings are powerful; in fact, they're so powerful that whenever they inadvertently escape, her magic talent of ice and snow embodies whatever it is that she's experiencing. And since most of her emotions are negative, that can have a very bad outcome for anyone who happens to be near her.
It wasn't always like this. As a child, Elsa loved to use her powers to entertain her sister Anna. Both the girls viewed them with joy and wonder, a source of fun, and Elsa never worried about controlling her magic. It was simply there, a gift to be called upon whenever she wanted it. Everything changed after she accidentally hurt Anna as they played. Her parents and the wise old troll they rushed Anna to both made it clear that what had happened was Elsa's fault, and the experience woke guilt, fear and responsibility in the little girl. These are the emotions that now rule her life.
Outwardly, Elsa tries very hard to be the 'good girl', the perfect queen she has been taught she should be. The good girl is calm, composed, regal and solemn. She is cool and reserved, capable of socializing with her subjects but never showing particular favor to any of them. She takes courtly etiquette in her stride and maintains an unruffled appearance at all times. Despite the inner turmoil of emotions she experiences, Elsa nonetheless manages to keep this facade up surprisingly well when she has to spend time in the company of others - she endures her coronation and almost the entire ball afterwards without her guests noticing any sign of discomfort. But she very much prefers to be alone, locked away and isolated the same way she's been for most of her life, where she doesn't have to worry about her powers breaking free.
The guilt and fear that come with every emergence of her powers have driven Elsa to be almost completely alone. She is frightened of herself - of what she can do, and of what might happen if she loses control again. She's also terrified that someone else might find out about her magic, and condemn her as a monster. Even the slightest break in her self-control - a moment of wistful desire to be outside playing, for example - can mean that the room around her starts to turn to ice. With such small outbreaks of emotion causing her to become so quickly afraid, and thus to set off her magic, it's no wonder that Elsa does her best to feel nothing at all. Her fear of her powers being revealed is so strong that she stays inside through all the years of Anna begging her to come out and play, and even stays away from her parents' funeral for fear of what will happen if her grief is expressed. But the more she tries to control herself, the stronger her emotions become, and the harder it is for her to contain them.
Even after Elsa has fled into the mountains to escape, she is only truly emotionally free when she's alone. When there's no one else to worry about, to be responsible for, to fear for, Elsa is capable of incredible feats of creativity, beauty and brilliance. Her ice palace in particular is the work of an artist. It becomes clear in these moments, and in a few scattered instants throughout the rest of the film, that Elsa is not just a frightened, guilt-stricken young woman. When she's free to be herself, Elsa has an almost childlike sense of joy and wonder, particularly seen in Olaf the snowman - a creation formed from a half-buried memory of happy times playing with her sister. She becomes playful, almost mischievous, a trait that also surfaces when she convinces the Duke of Weselton to dance with Anna instead of Elsa herself. It's clear that the happy child Elsa used to be has not entirely disappeared, just been buried under an avalanche of fear.
□ Age: 21
□ Gender: Female
□ Appearance: As befits someone who can control the winter, Elsa's coloration is icy cool - her hair is a silky platinum blonde, her skin luminously fair, and her eyes a brilliant blue. Slender, graceful and elegant, she prefers to wear long, regal dresses and keeps her hair perfectly braided. In contrast to her sister, Elsa is almost always composed and controlled with every detail of her hair and clothing neatly arranged. At the canon point she's being taken from, she always wears gloves in an attempt to keep control over her powers by ensuring she cannot touch anything.
□ Abilities/Powers:
Elsa's ability to manipulate ice and snow and what is created varies dramatically according to whether she's trying to stop the power or letting it flow through her, and her emotional state at the time. When she's feeling threatened, afraid or angry and/or trying to hide her power, it can escape her control and manifest as a protective force, creating icicle walls and flying shards of ice to block or attack perceived threats. She can also use her magic to defend herself deliberately, and as a means of attack when she sees no other choice than to fight back. Even under extreme circumstances, however, she uses her power to hold off threatening enemies rather than immediately killing them, which she could very easily do.
When she's happy, relaxed and actively using her power, it becomes a force of creation rather than destruction. Elsa can create very large ice structures, up to and including an entire and intricately detailed ice castle, design a beautiful icy gown for herself, and is also capable of creating ice and snow creatures such as Olaf the snowman and a protective snow monster. She can freeze very large quantities of water, most notably her kingdom's seaport and fjords, and set off massive snowstorms that are capable of covering and freezing most if not all of her kingdom.
At her current canon point, Elsa does not yet know that using love and joy are the key to thawing the snow and ice that inevitably arise when she experiences distressing emotions. It takes the entirety of Frozen before she realizes that she is even capable of reversing her powers to melt and thaw rather than freeze everything around her.
Perhaps Elsa's most frightening and unpredictable power is her ability to freeze a person's head or heart. Unlike all her other powers, she seems completely unable to control it; this power emerges only when she's absolutely terrified, her fear manifesting in blasts of magical ice. If someone's head or heart are frozen, and nothing is done to save them, their fate is to turn to ice - and remain that way forever. A person struck by one of Elsa's freezing blasts will slowly become colder and colder; they begin to shiver more and more, their hair turns white, and frost creeps through them until it covers their entire body.
Depending on whether the head or the heart has received the icy blow, the means of saving the person differs. The head, as the wise old troll who saves Anna as a child says, 'can be persuaded'; with his magic, and presumably with similar magic, the ice can be removed from a stricken person's head, leaving them largely unharmed (although a lock of Anna's hair remains white even after the troll's best efforts). On the other hand, the only way to thaw a frozen heart is an act of true love - the most magical force of all. In this respect familial love, and presumably the love of a friend, is just as effective as romantic love, and either the frozen person or someone who loves them are able to perform the act of true love that will save them. The act of true love as a means of healing a frozen heart restores the healed person completely, leaving no mark. In Anna's case, it is so effective that it even changes her lock of white hair back to its original red.
Elsa is also immune to the cold, and can stroll blithely through deep snow without any discomfort (not to mention wearing the gown she creates with her powers).
□ Personal Items:
-Coronation dress
-Two pairs of gloves
-Her crown
-Boots, stockings and underwear
□ First Person Sample:
[Anyone who's ever been in a starter apartment will recognize one when it appears on the network - plain and bare, with no sign yet of what kind of person inhabits it.
Or almost none. There is a crown, neatly placed on the bed, perfectly centered at the foot. And there are scraps of paper scattered here and there on the floor, the video briefly flicking over them. Someone who can read very fast might make out a few words, here or there - Has anyone heard of Arendelle, and Does anyone know what it's like outside the gates, and Anna?. Elsa's been practising, trying to find words. And trying to find courage.
Her gaze moves to the window, where Ariel's lights flicker faintly. From the positioning of the camera, she's sitting on the floor, back pressed against her wardrobe, and if anyone's listening closely they'll hear the sound of breathing - a little too fast, a little bit shaky.
The video feed goes dark, not as though it's been cut off, but rather as if the person responsible has shut their eyes. And then there's a voice, calm and steady, perfectly unruffled. It's not at all the kind of voice that seems like it would belong to those scraps of paper, that frightened breathing.]
All the things they tell you in...re-education.
Are they true?
□ Third Person Sample:
She's never felt anything like this before. It's pulsing through her body, a strange kind of throbbing that intensifies whenever she moves too close to another person. As if she needed another reason to stay away... Elsa stumbles through the streets, cloak clutched tightly around herself, head bowed as though she's walking through a storm. There's no storm here - or not outside, anyway. Inside, the swirling tumult of feelings is stronger than ever. All that's keeping her walking is the desperate need to find somewhere to be alone.
And the thing is the guards laughed - not unkindly, she doesn't think, but it's very hard to tell - they laughed, and said they finally let you out, huh?, even though she's never been here before. She's never been in there before. She never wants to be in there again. But they said to avoid going back, she has to -
Elsa doesn't want to think about what they said she has to do. When she does, fear roars in her like a blizzard, her mind going white with terror. It's the kind of feeling that makes the power come, and they said the power wouldn't come but there's no way she can take that kind of risk. She knows what to do in situations like this. If she concentrates, if she thinks about anything other than what's happening, the feelings can be stamped down, ignored. That's how it works. Or at least how it works most of the time, and now really isn't the time to try something different. So she's concentrating as hard as she can on each step, one foot in front of the other, and doing her best not to think about - anything. Not the words, not that place, and most definitely not the way heat rises inside her when her arm brushes against a passerby's.
All she wants is to be alone.