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KWON NORA – DEATH. AGENT 13.

[ FILE TYPE: CLASSIFIED ]

//: LOADING PROFILE: KWON NORA …

international age: 24 birthplace: seoul, south korea arcana: death team number: nine

//: LOADING MUTATION: GHOST PHYSIOLOGY …

application one: fear aura — a distinct FEAR AURA surrounds nora, something that cannot be contained or controlled to the best of her knowledge. it exists in a latent and quiet manner in her daily life, permeating the air around her, seeping out into a ten to twenty foot radius around her. this aura affects the subconscious of those within the radius, inciting a vague sense of unease that is largely inescapable. when in her fully “ghost” form pursuant to application two, this heightens twofold and the unease she radiates becomes actual fear, in the sense that it will raise goosebumps, the hair on the back of your neck, make the affected parties feel strangely suspicious and jumpy, and so forth.

application two: ghost form — the most characteristically ghostly of her powers is her GHOST FORM, a malleability of presence and form that allowed her to initially identify her ability. just being vaguely creepy to people had been hard to pinpoint, and until this aspect manifested she had no access to the third, which left her somewhat uncertain when her abilities first began to manifest. in full force, nora becomes a spectral entity in appearance, distorted and silvery. in this form she can enact the most damage in terms of heightening fear around her and accessing the third application of her powers. there are various shades, however, to this ability. she is also able to become intangible but purely visible, invisible but purely intangible, and additionally can be also intangible and invisible at once. this is ideal for her role in infiltration missions, allowing her to pass purely undetected through dangerous areas or subvert physical attacks.

application three: spectral energy manipulation — far and away the most useful of her abilities is SPECTRAL ENERGY MANIPULATION. colloquially known as ectoplasm (but not the gross weird green kind from children’s “scary” shows), this is what makes up her being when she is in her fully spectral form (application two). she is still able to do a decent amount with this, in terms of the manipulation of her own form to various evasive and defensive effects. s at that point she is able to propel herself in a manner akin to flight (though more restricted, and perhaps better likened to floating in terms of how close to the ground she remains), adjust her appearance and how others perceive her (most commonly into many of the stereotypical horror movie ghost features), and so forth. truthfully her last ditch effort in situations of trouble is her ability to briefly possess a target, which is to say when in pure spectral form she may invade via the mouth, funneling into a person’s consciousness and taking it over briefly. she is then able to use their physical form, though she is unable to access their memories or consciousness, as her own replace theirs for the time being. the target remains consciously aware of her presence but unable to act, except in cases of extreme mental fortitude in which she may be forcibly ousted.

overall strengths and weaknesses: — to deal first with the obvious weakness of her fear aura, it is difficult to find people willing to sustain the constant uncertainty, discomfort, and anxiety that are associated with being in her presence, much less considering the fact it is amplified to great degree when she is actively using her powers. this means her partner had to be rather carefully vetted, as one of weak mind or heart would be unlikely to fare well alongside her for long.

additionally, nora is distinctly lacking in offensive powers, which leaves her vulnerable, particularly when she is exhausted or in some other way unable to accurately harness her abilities. in many cases she is able to work around this by simply becoming invisible, intangible, or some combination of the two, rendering it exceptionally difficult to land a hit. however, she is still quite vulnerable to surprise attacks.

given her ability to literally disappear and walk through walls, nora is ideal for her roles related to gathering information, infiltrating enemy compounds, or assessing locations undetected. when it comes to subtlety there are few more suited to the task than she.

given her partner’s capability of assuming human forms, nora works well in tandem with them, particularly when given the cover of their distraction techniques, or when able to move ahead and open doors, assess the layout of the area, and so forth, in order to determine potential threats to the other’s forward movements. in this way the scope of their actions is able to broaden a bit from purely infiltration related. further, she is able to briefly possess individuals, as stated above. while she is unable to access their knowledge, powers (if an arcana), etc in this state, she is able to control their body, which allows her to pass undetected, or to transfer her own training in combat to a sturdier form than her own, giving her a higher likelihood of success in a brief hand to hand situation. this further works well to distract or disorient opponents in a group, should one of their own suddenly begin fighting them, and so on.

//: LOADING HISTORY ..

PRE-MUTATION

tw: self harm, sexual abuse 'tis in my memory lock'd, and you yourself shall keep the key of it.

kwon nora is not a baby, she is a tool.

born to a mother intent on salvaging her affair with a married, wealthy businessman, kwon inha overestimates how much her beau is willing to sacrifice for his new daughter, his new girlfriend. his wife, his current family? its not on the list.

and so kwon inha finds herself pregnant for no reason, and the resentment begins.

it does not diminish when nora is born, with wide dark eyes and a powerful set of lungs. she screams already as though the world as wronged her and indeed, it will, time and again. perhaps she has seen some portent of this in whatever realm is beyond consciousness. it is the beginning of an inauspicious life, to say the least.

she is left to her own devices as a child. her mother begins dating again and a series of men pay for the series of nannies and babysitters that raise her. nora learns through observation that femininity is the key to success, that her power will come in soft words and soft touches, in all things pliant and promising.

kwon inha marries quickly, and at five years old nora is a flowergirl dressed in lilac, flowers braided into long dark hair. she is paraded out for pictures where her mother dotes on her pointedly, where her newfound step father smiles benign and bright, adn then she is shunted to her room and instructed to be still and silent, lest the party be disrupted.

nora is a trophy, even then. she is a commodity, bred to be beautiful and silent, to speak when spoken too and to smile endlessly, softly, less she be the burden her mother promises her she is.

with her mother as a role model, nora learns too quickly what powers she can wield, what the soft promise of her truly is. she grows into a beautiful young woman, everyone is keen to tell her this, as she is steered through functions and fundraisers, dressed in pastels and lace. she is always this pure thing, this precocious trophy of a girl.

nora learns things no young woman should ever know.

she learns them as she ages, as eyes begin to follow her. learns them late at night when the door creaks open, when hands pull and tug and tear.

but with this knowledge comes a deadening, and a breaking, and also a surplus. she is given anything she could dream of or want. she is dressed in silks and satins, her life becomes streamlined, state of the art. her external world has all the comforts she lacks emotionally, void of love or trust, an aching chasm that spreads in her, splits her in two.

years pass in fragments, bits and pieces.

she's lost much of this to her own mind, shuttered off in large swathes, months and days blanketed in a fog of forgetfulness. she remembers instead, small things. the smell of wildflowers on her walk home from school, a teacher's kindness, the sunlight filtering through the windowed hallways of her school building. champaign flutes and crystal glasses and violin quartets and interminably long parties.

she remembers the sick twist in her gut and the leer in the eyes of her step father's friends, some perceived knowing. as if they can tell what he has done. as if he has bragged of it, his conquest. his toy, his victim. he flaunts her like a prize he has won and not something he has stolen and destroyed.

shortly after she graduates high school, something in nora snaps.

there is a deadened coldness in her, one she thinks must have permeated her skin, rendered her as frigid and steely as the knife she slips beneath her pillow.

she waits.

he comes as he always does, as he must - slave to some baser instinct to ravage and ruin. and when he's there, over her, she moves, slips the blade into his side in a movement that is the utmost in satisfaction. the white linens, her white nightgown, the pale expanse of his torso, the moonlit line of her arm; these things are all drenched in crimson and she glows with satisfaction and with fire.

he is unharmed, ultimately, aside from the stitches.

she, however, is cast out. she is tossed onto the streets, told that this is her penance. vile creature, her mother calls her, a sick and twisted serpent, eve tempting adam to his doom. eden - the most lush trap, built for the condemnation of souls, the introduction to sin.

she wonders when her mother found religion and how on earth she had so woefully misinterpreted it.

there is a teacher at the school, an old family friend, a young man a scant few years her senior. he takes her in, but this too sours.

demanding and controlling, nora is slowly hedged into isolation, rapunzel in a tower that is built block by block. he's concerned, you see, about the influence of her friends. he worries, of course, that she could be hurt. she's so fragile, is all, so delicate. he wants only to protect her, he says, and slowly, so slowly, nora finds herself in a world that revolves around him, as if he is some burning sun.

it becomes clear to her in time, however, that there are many planets in his orbit.

this is the final straw - she has dignity enough to hate this, possessive as she is; possession that she is.

with an inheritance from her estranged maternal grandmother, she leaves. soundlessly in the night, without a word, she takes the bus to seoul and never once looks back, leaves the salt spray of busan in distant memory.

two months later the call comes.

found, hanged, from the ceiling fan in the bedroom. in their bedroom.

perhaps her mother was not so wrong, she thinks, in fitful starts between mouthfuls of liquor, in lucid moments between pills. perhaps she is worse still than eve or eden. perhaps she is the snake, some slithering and sinful thing, bred to bring temptation and destruction.

POST-MUTATION

there's rosemary, that's for remembrance. pray you, love, remember.

the meteor shower is dimmed by the ambulance lights, a violent cacophony of yellows and reds and whites. too many pills and too much liquor, and a kind partygoer who finds her on the bathroom floor. she chalks the dreams up to the effects of this, an iv in her arm and bruises around her eyes. she is sunken and sallow, a shadow of her past.

she dreams herself a ghost. she longs, desperately, to sink into the sheets and sleep - the sleep of the dead. dreamless and peaceful and everlasting.

what she gets instead is some cruel play on this wish.

the ability develops slowly, and with it come crushing migranes and sleepless nights, cold skin and a shiver of uncertainty from those she meets. of course the fear comes first. of course.

she spends days upon days as a ghost, drifting listless through the world around her, as if the depression that claws at her senses now manifests physically in her form (or lack thereof, when she finds she can become this misty substance, or nothing at all).

when the ar compound finds her she wonders how on earth they've managed it, when she has spent so long now being hidden and silent and absent. ghost stories travel, however, and she is a live haunting.

they bring her to a compound and they tell her she has a purpose now. she scoffs at this, at all of it, but the lure of wealth and safety is at least something. the therapist who patiently smiles at her is something too - something grating and unappreciated. she takes prescribed pills and she learns to fight. she favors the knife, with its cool, long blade. there is a comfort in this still.

she's assigned missions and teammates and it is with great disinterest that she proves herself formidable. she cares little for boundaries, for their targets, for what she is doing. she moves in conditioned, blind obedience.

and on some days, she doesn't.

on some days she is all fire and fury and empathy, she is hateful and horrid, she is hurt and hurting, broken and breaking. nora's instability is obvious and she is monitored closely, for her aggressive recklessness and her cold dissociation, for the pendulum swing of her responses.

but nora, as always, gets what she wants. she has the tools for this - in the curve of her hips and the flash of her eyes, in the knives she keeps tucked away, in the flicker of mist and promise as she twists from girl to ghost.

#arc.app #arc.death #fc.jung soojung #( BACKGROUND CHANGE )

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