MoM App
〈 PLAYER INFO 〉
NAME: Jay
AGE: 28
JOURNAL:![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
wuzzafuzzle
IM / EMAIL: wuzzafuzzle#8386 on Discord
PLURK:![[plurk.com profile]](https://plurk.com/favicon.ico)
Wuzzafuzzle
RETURNING: Yes
〈 CHARACTER INFO 〉
CHARACTER NAME: Mickey Milkovich (full name: Mikhailo Aleksandr Milkovich)
CHARACTER AGE: 19
SERIES: Shameless (US)
CHRONOLOGY: 4x11
CLASS: Anti-hero
HOUSING: If he could be put in with Ian Gallagher (if he's accepted), that would be lovely. Otherwise, randomizing works fine.
CW: CHILD ABUSE, SEXUAL ABUSE, VIOLENT CRIME, DRUG/ALCOHOL ABUSE. IDK, HERE'S WARNINGS.
BACKGROUND: Fandom Wiki page for Mickey
PERSONALITY:
Shameless focuses largely on painting a gritty kind of truth (and hilarity) to less glamorous areas of life in the lower class US, like struggling through poverty, the broken family and absent parents, addiction, crime and the less privileged life in general. One of the most impacting forces of this series is the environment it exists in, and Mickey Milkovich is very much a product of his environment. Born to a Russian crime family, he was the eldest of several siblings, raised alone by their less than nurturing father, a man who is constantly in and out of prison for violent crime. His character is the epitome of his station's stereotype, and through his arc, rises above it to retain his sense of individual self and the culture of the environment that shaped him, while still completely defying in many ways, largely through the trial of his coming out as gay in a deeply bigoted neighborhood to a deeply homophobic father, and his coming to be committed and loyal to Ian Gallagher.
Even as young as 17, Mickey's already accepted that he'll be a life time delinquent, when Ian suggests he spends his jail time reading (educating himself), and he tells him, "Fuck off. I'm fucked for life anyway, man." It's a foregone conclusion to him, and Mickey has not delusion of that. He's set to a certain lifestyle, and fills that role quite well. As someone as feared as Mickey (and his father) is, he's reckless and impulsive, enjoys violence and intimidation, gets a kick out of both of them. He was a child raised in an abusive home, by a man that controlled and insulted his children constantly, and Mickey now returns that behavior towards others, reveling in the superiority and power that grants him just by being him. It isn't quite to the same extreme, given he still deeply disapproves of violence against women and children (that aren't the same age as him). Mickey displays the typical sort of "unsophisticated" (more unexposed beyond his environment) simplicity assigned to his social class, finding himself at a fancy party, completely out of place with the excess details of things like beer types - "You got beer?" "I've got some craft brews, a stout, IPA, winter wheat." "How about beer?" There's a lack of education and awareness of the rest of the world outside of the South Side of Chicago, and when something like mental illness is brought up to him, Mickey completely misses the seriousness of it, the difference between manic depression and someone just being in a bad mood for a while. He doesn't understand the needs for medication or hospitalization for it, and reacts with disgust at the idea. Mickey holds a certain pride in that stereotype, likes being that fucked up kid from the ghetto, even if he isn't particularly excited about his prospects in life - he's at least good at what he does. He holds an entitlement that comes with being in his position, just walking into convenience stores, picking up the items he wants, and leaving out the front door as if he isn't expected to pay, because no one has the guts to stand up to him or his family ("You know where I live if you have a problem.").
Persona is a huge part of how Mickey runs his life and interacts with the rest of the world. It's largely been drilled into him by his father, as Things A Crime Lord Must Do, aka, things a Milkovich must do. Part of being in charge of the South Side is acting the part, and even at 17, he does. Things required - give no fucks, proclaim 'not my fucking problem' at anything not directly associated with him, be untouchable in terms of emotion or otherwise, don't be a girl, be the baddest badass on the block, take what you want when you want, rise to all challenges, and never accept help or care from anyone. It's toxic masculinity that's embedded in him, that drives the deep homophobia that makes the struggle with his sexuality and living the life he wants to have so much of a difficulty for him. In reality, while Mickey enjoys a lot of this persona he operates under 80% of the time, and much of the more basic concepts are genuinely who he is, he's far more sentimental, clever, and level-headed than he pretends to be. Running at least 3 businesses at different points in time, he has a practical kind of mind, and often comes up with plots and plans for a group, normally looked to for these things. And yet, he feels the needs to always assume the role as alpha male in every situation, even while bottoming in gay sex ("Knowing what I like don't make me a bitch"). As such, he's competitive, he goes out of his way to show disapproval of feminine things that could be associated with him, and sticks out in any group by being direct and demanding, to the point of having difficulty trying to chill out and be sensitive within and actual relationship with someone he cares for (Ian). Finding the balance between who he is (because this need of masculinity is so ingrained in him it's part of his being), what he wants, and what that presents to the public is a regular struggle for him.
Loud, profane, offensive, abrasive - a few endearing terms for Mickey's typical disposition. His default tone tends to be 'shit talking', because simply saying 'good morning' is too basic for him, apparently. Mickey is a nonstop soundtrack of offensive topics, commenting with homophobia (even after completely out of the closet himself), racism, classism, misogyny, vulgarity and general grossness. Most of the more extreme ones (like racism) come out in commentary and joking more because of culture and persona than actual actions. His violence tends to be non-discriminatory (outside of homophobia, due to the issues he has with his own sexuality), but his commentary one a person will always find the most aggravating routes to take. He's a sassy thing, constantly sarcastic, and gets comically hysterical/incredulous/exaggerated when people are acting stupid or offending his sensibilities, or just annoying him. A man delivers a suitcase to Mickey's house, and in probably a single breath, Mickey tells him - "Sorry, are you still waiting around for like a fucking tip or something, 'cause I'm pretty sure you guys lost the baggage, right? That means go, good bye, thank you, holy fuck." It's always 'me against the world' with Mickey, so ready to be defensive, naturally insulting anyone he runs into as a go-to greeting, always ready for a fight, expects everything he strives for himself to be difficult. It often seems like Mickey's personal creed is 'give no ground', another point of his core philosophy having to be made more flexible as his relationship with Ian (and the found family he adopts) grows.
It's likely very clear at this point, but Mickey is a fiercely emotional kid, but much of that is strangled down and suffocated under the rules he's been taught to live by. Mickey doesn't consider himself as having any real choice in getting to be as emotionally honest and himself as he wishes he could. He tells Ian, "Not everybody gets to just blurt out how they fucking feel every minute," which is a stark difference to Ian's life, which is a family of 6 or 7 constantly screaming their feelings at one another. Mickey's caged up, closeted as all fuck (up until about 20 minutes before his canon point will be), and harbors an intense fear of his father, and of what he'll lose in the eyes of the public and those around him if he's as honest as he wishes. He clings to that persona of a criminal and that masculinity like a life line (as if he requires it to survive), essentially having it trained into him that it's a mortal sin to be anything less - boys don't cry. When Ian tells him he's leaving town, despite how panicked Mickey is over it, the fear of losing Ian something huge to him, he's literally too afraid of expressing or verbally recognizing emotion for him to say anything other than "Don't". He's a child of emotional, physical and sexual abuse, and his faith in himself for anything outside of crime and playing his given part is null. Given how stunted he is in that manner of expression, Mickey speaks more through actions than he does words, and his fear comes out in threats of violence and large shows of indifference to things he's expected to care about. Frustration, anger, sadness, fear, shame, guilt, all of this builds and builds in him, and usually releases through some kind of violent outburst, or something loud and disruptive, or binge drinking. However, after he's come to trust someone enough to be emotionally honest with them (as much as he's able to, with how unused to it as he is), there's a wealth of affection, care and commitment to be found there.
Conditional morality is the name of the Shameless game, and particularly with the Milkovich family. There's a certain code of honor respected by the people in their neighborhood - while things like murder, assault, theft and drug dealing are accepted things by adults, there's several moments in the show were not only the Milkovich family, but some of the Gallaghers and others, go on hunts for perpetrators of sexual violence or violence against women. There's the idea that you murder A, people who deserve it, and particularly for Mickey himself and his family: B, who are in the way of business and C, who challenge you. He'll casually bring up the option of torturing someone who's wronged someone he loves, and when someone he'd only drugged accidentally ends up dude, Mickey's unfazed, seems to not get why the other person in the room is horrified. At the suggestion of doing something to get his sister's abusive boyfriend away, he says "Hey, you get the gun, I'll get the saw, we'll bury that piece of shit down by the river." Still, there's no sympathy from him for a person being stolen from, or people left behind by victims (family, etc), and the general idea is, get away with what you can, as long as it's not too fucked up, aka, don't be his dad. Mickey himself has a kind of selective empathy, in that he has next to none for strangers, but incredible amounts for people close to him, which is a fairly small group.
But, that small group is rewarded with deep loyalty, Mickey having put great value into being committed absolutely to family and found family (Ian, and by extension, the Gallaghers at times). He'll often end up in a role as caretaker or protector of his circle, though he'll do it in the most dickish way he can manage, usually. For Ian, Mickey's willing to drag himself through hell for him, and gives him half a set of marriage vows (in sickness and in health etc etc) while talking about wanting to stay with him. So, basically, in summary - Mickey is a fucking terrible person, but not the worst to have on your side.
POWER: wiki links are in here only for my own reference
✯ Personal Void: Basically, Mickey's body is a wormhole to a Bag of Holding. This power allows the user to pull objects into themselves/the void space around them, and essentially store that object (living or otherwise) in a dimensional storage space. While something is inside that void, Mickey has no control over it, can only send it in or take it out. The space itself is just blank, black space, and I'm imagining it a lot like the Upside Down from Stranger Things - just this all black, terrifying empty, blank space (if a person is put into this void, it's be scary as hell). Unless someone has a lot of experience with navigating voids like this, the other objects in that void cannot be interacted with, unless Mickey intends to put them together. For the sake of limitation, Mickey can't store anything (or a collection of anything) larger than a military tank. Putting something into his personal void just looks like the object phases through his skin like a ghost, wherever it touches (or is sucked in).
✯ Gravity Manipulation: This is a fairly large umbrella, and before I get into all the possibilities (because there are a lot), I'm stating that the limitation is that Mickey can only manipulate gravity in ways that he understands the science of. So, for now, he knows from the most basic of school classes and Discovery shows, that objects with gravity/greater mass, pull things towards them. Like the Earth, so he can alter how much the Earth's gravity is - person/object go up, person/object go down. Beyond that, he's going to have to study his ass off to start manipulating the gravity of other objects, shifting direction and managing multiple forces at once. At his peak, what he'll be able to do will look a lot like telekinesis, fueled by complicated and extensive gravity manipulation. Advanced physical combat to alter the mass and effects of gravity on his body and others to make strikes have more force or his body to have more speed. Crushing an object through a huge application of gravitational force. Creating black holes to compress things into oblivion. Gravitational repulsion, to make a sort of force field around someone/something. Repulsing something with such force that it could shatter through most anything. The intensity of this power is dependent on the next power (as well as, as stated, if Mickey's put in the study time to know what he's doing).
✯ Drunken Master: Cheap Beer/Russian Vodka for Power Fuel aka The Trashy Popeye Equivalent. That's about it. Mickey uses cheap beer or vodka like Popeye uses spinach. The more he drinks, the greater his power is, but the less sober he is as well, so if he wants to do something like drag a meteor down to Earth, he'll need to basically be half a second away from death by alcohol poisoning.
〈 CHARACTER SAMPLES 〉
COMMUNITY POST (VOICE) SAMPLE: CW: sexual vulgarity, gore talk?
[ It's only a voice that erupts over the network - clearly male, and deeply accented in what most could probably tell is Chicagoan, and if not, at least Northern and urban. That, and, not terribly impressed with the state of things. ]
Who the fuck thought it was a good idea to use your limited amount of magic teleporting knick-knacks to link up to three bumfuck goddamn nowhere towns in Shitsville, Fuckyou Falls, and De Bullshit, USA? [ He only remembered the 'Falls' and the 'De' part, okay, he's improvising. You know what he means. ] I've never even heard of these backwater trash dumps. They're probably run by hillbilly cannibals, and you know anything that ends is 'Falls' is gonna be a place where you lure dipshit teenagers to get the fuck murdered outta them, and probably stitched into a nasty skin sweater for ol' Billy Bob Psycho to wear to the family reunion, like that's gotta be horror movie law by now, anyone feel me on that?
[ Like 'Silent Hill', anything that sounds like it would make a nice landscape portrait is probably, most definitely, trying to kill you. That's what pop culture has taught Mickey, and he's sticking to his ghetto, thank you very much. At least no one there is a cannibal. Well, outwardly. ]
No one thought of, I dunno, New York? LA? Chicago? [ emphasis there, because that's the one he's really missing. ] Any of those places people actually give at least two almost-flaming fucks about? I dunno, maybe four, maybe some of you assholes have an excess of fucks to spread around, good for you, 'cause I'm all outta them at this point.
[ You can hear a snort, and it's easy to imagine Mickey shaking his head on the other end of the line. A brief pause, a reprieve from Mickey's stream of profane consciousness, and the last bit comes more sobered, almost bored. ]
That said, who do you gotta blow around here to get a lift to Chicago? I know a hot, ginger twink lookin' to arrange some travel plans. Hit me up.
LOGS POST (PROSE) SAMPLE: TDM top level
FINAL NOTES: hi
NAME: Jay
AGE: 28
JOURNAL:
wuzzafuzzleIM / EMAIL: wuzzafuzzle#8386 on Discord
PLURK:
RETURNING: Yes
〈 CHARACTER INFO 〉
CHARACTER NAME: Mickey Milkovich (full name: Mikhailo Aleksandr Milkovich)
CHARACTER AGE: 19
SERIES: Shameless (US)
CHRONOLOGY: 4x11
CLASS: Anti-hero
HOUSING: If he could be put in with Ian Gallagher (if he's accepted), that would be lovely. Otherwise, randomizing works fine.
BACKGROUND: Fandom Wiki page for Mickey
PERSONALITY:
Shameless focuses largely on painting a gritty kind of truth (and hilarity) to less glamorous areas of life in the lower class US, like struggling through poverty, the broken family and absent parents, addiction, crime and the less privileged life in general. One of the most impacting forces of this series is the environment it exists in, and Mickey Milkovich is very much a product of his environment. Born to a Russian crime family, he was the eldest of several siblings, raised alone by their less than nurturing father, a man who is constantly in and out of prison for violent crime. His character is the epitome of his station's stereotype, and through his arc, rises above it to retain his sense of individual self and the culture of the environment that shaped him, while still completely defying in many ways, largely through the trial of his coming out as gay in a deeply bigoted neighborhood to a deeply homophobic father, and his coming to be committed and loyal to Ian Gallagher.
Even as young as 17, Mickey's already accepted that he'll be a life time delinquent, when Ian suggests he spends his jail time reading (educating himself), and he tells him, "Fuck off. I'm fucked for life anyway, man." It's a foregone conclusion to him, and Mickey has not delusion of that. He's set to a certain lifestyle, and fills that role quite well. As someone as feared as Mickey (and his father) is, he's reckless and impulsive, enjoys violence and intimidation, gets a kick out of both of them. He was a child raised in an abusive home, by a man that controlled and insulted his children constantly, and Mickey now returns that behavior towards others, reveling in the superiority and power that grants him just by being him. It isn't quite to the same extreme, given he still deeply disapproves of violence against women and children (that aren't the same age as him). Mickey displays the typical sort of "unsophisticated" (more unexposed beyond his environment) simplicity assigned to his social class, finding himself at a fancy party, completely out of place with the excess details of things like beer types - "You got beer?" "I've got some craft brews, a stout, IPA, winter wheat." "How about beer?" There's a lack of education and awareness of the rest of the world outside of the South Side of Chicago, and when something like mental illness is brought up to him, Mickey completely misses the seriousness of it, the difference between manic depression and someone just being in a bad mood for a while. He doesn't understand the needs for medication or hospitalization for it, and reacts with disgust at the idea. Mickey holds a certain pride in that stereotype, likes being that fucked up kid from the ghetto, even if he isn't particularly excited about his prospects in life - he's at least good at what he does. He holds an entitlement that comes with being in his position, just walking into convenience stores, picking up the items he wants, and leaving out the front door as if he isn't expected to pay, because no one has the guts to stand up to him or his family ("You know where I live if you have a problem.").
Persona is a huge part of how Mickey runs his life and interacts with the rest of the world. It's largely been drilled into him by his father, as Things A Crime Lord Must Do, aka, things a Milkovich must do. Part of being in charge of the South Side is acting the part, and even at 17, he does. Things required - give no fucks, proclaim 'not my fucking problem' at anything not directly associated with him, be untouchable in terms of emotion or otherwise, don't be a girl, be the baddest badass on the block, take what you want when you want, rise to all challenges, and never accept help or care from anyone. It's toxic masculinity that's embedded in him, that drives the deep homophobia that makes the struggle with his sexuality and living the life he wants to have so much of a difficulty for him. In reality, while Mickey enjoys a lot of this persona he operates under 80% of the time, and much of the more basic concepts are genuinely who he is, he's far more sentimental, clever, and level-headed than he pretends to be. Running at least 3 businesses at different points in time, he has a practical kind of mind, and often comes up with plots and plans for a group, normally looked to for these things. And yet, he feels the needs to always assume the role as alpha male in every situation, even while bottoming in gay sex ("Knowing what I like don't make me a bitch"). As such, he's competitive, he goes out of his way to show disapproval of feminine things that could be associated with him, and sticks out in any group by being direct and demanding, to the point of having difficulty trying to chill out and be sensitive within and actual relationship with someone he cares for (Ian). Finding the balance between who he is (because this need of masculinity is so ingrained in him it's part of his being), what he wants, and what that presents to the public is a regular struggle for him.
Loud, profane, offensive, abrasive - a few endearing terms for Mickey's typical disposition. His default tone tends to be 'shit talking', because simply saying 'good morning' is too basic for him, apparently. Mickey is a nonstop soundtrack of offensive topics, commenting with homophobia (even after completely out of the closet himself), racism, classism, misogyny, vulgarity and general grossness. Most of the more extreme ones (like racism) come out in commentary and joking more because of culture and persona than actual actions. His violence tends to be non-discriminatory (outside of homophobia, due to the issues he has with his own sexuality), but his commentary one a person will always find the most aggravating routes to take. He's a sassy thing, constantly sarcastic, and gets comically hysterical/incredulous/exaggerated when people are acting stupid or offending his sensibilities, or just annoying him. A man delivers a suitcase to Mickey's house, and in probably a single breath, Mickey tells him - "Sorry, are you still waiting around for like a fucking tip or something, 'cause I'm pretty sure you guys lost the baggage, right? That means go, good bye, thank you, holy fuck." It's always 'me against the world' with Mickey, so ready to be defensive, naturally insulting anyone he runs into as a go-to greeting, always ready for a fight, expects everything he strives for himself to be difficult. It often seems like Mickey's personal creed is 'give no ground', another point of his core philosophy having to be made more flexible as his relationship with Ian (and the found family he adopts) grows.
It's likely very clear at this point, but Mickey is a fiercely emotional kid, but much of that is strangled down and suffocated under the rules he's been taught to live by. Mickey doesn't consider himself as having any real choice in getting to be as emotionally honest and himself as he wishes he could. He tells Ian, "Not everybody gets to just blurt out how they fucking feel every minute," which is a stark difference to Ian's life, which is a family of 6 or 7 constantly screaming their feelings at one another. Mickey's caged up, closeted as all fuck (up until about 20 minutes before his canon point will be), and harbors an intense fear of his father, and of what he'll lose in the eyes of the public and those around him if he's as honest as he wishes. He clings to that persona of a criminal and that masculinity like a life line (as if he requires it to survive), essentially having it trained into him that it's a mortal sin to be anything less - boys don't cry. When Ian tells him he's leaving town, despite how panicked Mickey is over it, the fear of losing Ian something huge to him, he's literally too afraid of expressing or verbally recognizing emotion for him to say anything other than "Don't". He's a child of emotional, physical and sexual abuse, and his faith in himself for anything outside of crime and playing his given part is null. Given how stunted he is in that manner of expression, Mickey speaks more through actions than he does words, and his fear comes out in threats of violence and large shows of indifference to things he's expected to care about. Frustration, anger, sadness, fear, shame, guilt, all of this builds and builds in him, and usually releases through some kind of violent outburst, or something loud and disruptive, or binge drinking. However, after he's come to trust someone enough to be emotionally honest with them (as much as he's able to, with how unused to it as he is), there's a wealth of affection, care and commitment to be found there.
Conditional morality is the name of the Shameless game, and particularly with the Milkovich family. There's a certain code of honor respected by the people in their neighborhood - while things like murder, assault, theft and drug dealing are accepted things by adults, there's several moments in the show were not only the Milkovich family, but some of the Gallaghers and others, go on hunts for perpetrators of sexual violence or violence against women. There's the idea that you murder A, people who deserve it, and particularly for Mickey himself and his family: B, who are in the way of business and C, who challenge you. He'll casually bring up the option of torturing someone who's wronged someone he loves, and when someone he'd only drugged accidentally ends up dude, Mickey's unfazed, seems to not get why the other person in the room is horrified. At the suggestion of doing something to get his sister's abusive boyfriend away, he says "Hey, you get the gun, I'll get the saw, we'll bury that piece of shit down by the river." Still, there's no sympathy from him for a person being stolen from, or people left behind by victims (family, etc), and the general idea is, get away with what you can, as long as it's not too fucked up, aka, don't be his dad. Mickey himself has a kind of selective empathy, in that he has next to none for strangers, but incredible amounts for people close to him, which is a fairly small group.
But, that small group is rewarded with deep loyalty, Mickey having put great value into being committed absolutely to family and found family (Ian, and by extension, the Gallaghers at times). He'll often end up in a role as caretaker or protector of his circle, though he'll do it in the most dickish way he can manage, usually. For Ian, Mickey's willing to drag himself through hell for him, and gives him half a set of marriage vows (in sickness and in health etc etc) while talking about wanting to stay with him. So, basically, in summary - Mickey is a fucking terrible person, but not the worst to have on your side.
POWER: wiki links are in here only for my own reference
✯ Personal Void: Basically, Mickey's body is a wormhole to a Bag of Holding. This power allows the user to pull objects into themselves/the void space around them, and essentially store that object (living or otherwise) in a dimensional storage space. While something is inside that void, Mickey has no control over it, can only send it in or take it out. The space itself is just blank, black space, and I'm imagining it a lot like the Upside Down from Stranger Things - just this all black, terrifying empty, blank space (if a person is put into this void, it's be scary as hell). Unless someone has a lot of experience with navigating voids like this, the other objects in that void cannot be interacted with, unless Mickey intends to put them together. For the sake of limitation, Mickey can't store anything (or a collection of anything) larger than a military tank. Putting something into his personal void just looks like the object phases through his skin like a ghost, wherever it touches (or is sucked in).
✯ Gravity Manipulation: This is a fairly large umbrella, and before I get into all the possibilities (because there are a lot), I'm stating that the limitation is that Mickey can only manipulate gravity in ways that he understands the science of. So, for now, he knows from the most basic of school classes and Discovery shows, that objects with gravity/greater mass, pull things towards them. Like the Earth, so he can alter how much the Earth's gravity is - person/object go up, person/object go down. Beyond that, he's going to have to study his ass off to start manipulating the gravity of other objects, shifting direction and managing multiple forces at once. At his peak, what he'll be able to do will look a lot like telekinesis, fueled by complicated and extensive gravity manipulation. Advanced physical combat to alter the mass and effects of gravity on his body and others to make strikes have more force or his body to have more speed. Crushing an object through a huge application of gravitational force. Creating black holes to compress things into oblivion. Gravitational repulsion, to make a sort of force field around someone/something. Repulsing something with such force that it could shatter through most anything. The intensity of this power is dependent on the next power (as well as, as stated, if Mickey's put in the study time to know what he's doing).
✯ Drunken Master: Cheap Beer/Russian Vodka for Power Fuel aka The Trashy Popeye Equivalent. That's about it. Mickey uses cheap beer or vodka like Popeye uses spinach. The more he drinks, the greater his power is, but the less sober he is as well, so if he wants to do something like drag a meteor down to Earth, he'll need to basically be half a second away from death by alcohol poisoning.
〈 CHARACTER SAMPLES 〉
COMMUNITY POST (VOICE) SAMPLE: CW: sexual vulgarity, gore talk?
[ It's only a voice that erupts over the network - clearly male, and deeply accented in what most could probably tell is Chicagoan, and if not, at least Northern and urban. That, and, not terribly impressed with the state of things. ]
Who the fuck thought it was a good idea to use your limited amount of magic teleporting knick-knacks to link up to three bumfuck goddamn nowhere towns in Shitsville, Fuckyou Falls, and De Bullshit, USA? [ He only remembered the 'Falls' and the 'De' part, okay, he's improvising. You know what he means. ] I've never even heard of these backwater trash dumps. They're probably run by hillbilly cannibals, and you know anything that ends is 'Falls' is gonna be a place where you lure dipshit teenagers to get the fuck murdered outta them, and probably stitched into a nasty skin sweater for ol' Billy Bob Psycho to wear to the family reunion, like that's gotta be horror movie law by now, anyone feel me on that?
[ Like 'Silent Hill', anything that sounds like it would make a nice landscape portrait is probably, most definitely, trying to kill you. That's what pop culture has taught Mickey, and he's sticking to his ghetto, thank you very much. At least no one there is a cannibal. Well, outwardly. ]
No one thought of, I dunno, New York? LA? Chicago? [ emphasis there, because that's the one he's really missing. ] Any of those places people actually give at least two almost-flaming fucks about? I dunno, maybe four, maybe some of you assholes have an excess of fucks to spread around, good for you, 'cause I'm all outta them at this point.
[ You can hear a snort, and it's easy to imagine Mickey shaking his head on the other end of the line. A brief pause, a reprieve from Mickey's stream of profane consciousness, and the last bit comes more sobered, almost bored. ]
That said, who do you gotta blow around here to get a lift to Chicago? I know a hot, ginger twink lookin' to arrange some travel plans. Hit me up.
LOGS POST (PROSE) SAMPLE: TDM top level
FINAL NOTES: hi