PLAYBOOK: The Transformed

Danger: +2
Freak: +3
Savior: +0
Superior: -1
Mundane: -1

MOVES

• Not human enough: When you directly engage a threat in a terrifying fashion, mark a condition to choose an additional option, even on a miss.
• I am not my body: When you take a powerful physical blow, you may roll as if you had two fewer conditions marked. If you do, on a 10+ you must choose to lose control of yourself in a terrible way.
• Coming for you: When you mark a condition, take +1 forward against the person you most blame for causing it.

INFLUENCE:

Over Others:

• CAS-513 (+1)
• Nova (+1)

Over Me:

• Nova (+1)

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Cecilia Cage’s physical form, at this juncture, is entirely malleable – in their ‘normal’ state, they are an ambulatory pool of a viscous black, ink-like fluid. They are not ‘wet’ in the traditional sense (having a consistency closer to mercury) but can cling to surfaces and flow ‘up’ them in defiance of fluid dynamics. They cannot ‘see’ in the traditional sense without manifesting ocular organs (see below) but have an all-around ‘sense’ in fluid state, a combination of precise tremorsense touch, and being able to detect vibrations and ‘taste’ changes in the air around themselves.

Cecilia is capable of seemingly limitless transformative ability, able to create nearly any physical form they can imagine (at least briefly) though any sort of lasting transformation takes active concentration. At present, Cecilia can maintain the form of a human young adult girl (including clothing and various accessories) nearly indefinitely so long as they are conscious – it is this form that they spend much of their time in public in, finding their ‘default’ state uncomfortable to be in around others. However, even in this ‘preferred transformation’, Cecilia is unable to disguise a number of “tells” – their human form is unsettling to observers in both subtle and overt ways. Their hair perpetually appears wet and drips black fluid, a side effect of attempting to replicate millions of filaments, their skin has a ‘washed out’ color resembling chalk, and their eyes are routinely without scelera – appearing as two pitch-black pools (despite functioning correctly as visual sense organs.) Their motions have an unnerving fluidity, as does their range of flexibility – and Cecilia must concentrate and deliberately ‘act out’ the various unconscious human motions and tics that others do naturally (appearing to breathe, blink, the correct movement of muscles to smile, sneeze, moving their mouth in correct time to speaking, etc.) making these motions seem disconcerting even though genuine.

In “Hero Mode”, Cecilia goes by INQ and largely abandons attempting to maintain anything more than a vaguely female humanoid form, and will frequently convert into a fully fluid state, taking action as a writing mass of bizarre fluidic shapes. It is in this state that they are at their most horrifying to most onlookers, as Cecilia often does not have the time to consciously form how they appear in the heat of action – leaving their id and their unconscious mind to form the end result. So “I need to grab that gunman” might see the target enveloped in hundreds of grasping, fractal hands or tentacles, or “I need to stop those bullets” might see Cecilia become a stretched out barrier of writhing organ-analogues and spikey protrusions. The trauma of combat clearly has an impact on INQ, and though they have managed to keep their conscious mind focused and calm so far, the fight-or-flight response of their unconscious mind means that most of their manifestations – even to protect others – tend to be awash with terrifying secondary elements, from screaming mouths and monstrous barbed tentacles to literal gigerian scenes of perverse hell, all rendered in undulating, organic black ink.