Arthur (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
paradoxlol) wrote2010-07-17 02:27 pm
paradoxlol) wrote2010-07-17 02:27 pm
Entry tags:
OOC: Application
User Name/Nick: Ros
User LJ: Nein
AIM/IM: pyrocornflakes
E-mail: rosloops at gmail
Other Characters: Cobra effin' Commander, Major West, Sam Tyler, Neil McCormick
Character Name: Arthur
Series: Inception
Age: Late 20s
From When?: After he escapes the van in the synchronized kick.
Inmate/Warden: Warden. When he realizes Cobb stayed behind in Limbo to get Saito, Arthur makes a deal with the Admiral to secure their safe return to the waking world (partially to secure their safety, and partially because... Saito getting shot was sort of his fault, anyway). He's a serious, dedicated worker, so he plans on getting the job done with his inmate and leaving once it's finished.
Item: Arthur's Warden Item will just be a regular notepad. However, he also carries his totem, a loaded die, at all times. I just feel it's worth noting, in case anybody wonders why I wouldn't make the totem his item: doing so sort of implies that it can be manipulated by somebody other than him (since it'd be connected to the Barge/Admiral), which defeats the purpose of the totem as his link to reality.
Abilities/Powers: None, but Arthur's highly intelligent and resourceful. He's a skilled fighter, fairly solid researcher, and he's capable of adapting to dangerous challenges without hesitation. Arthur's proficient in hand-to-hand and an array of firearms and explosives.
Personality: Arthur's occupation tells a great deal about who he is. Although it would be simplistic to sum him up solely as a Point Man-- as, despite his attempts at maintaining a professional appearance nearly the entirety of his presence in canon, he is more than his job-- it's the best place to start to get an idea of him. Arthur plays a nearly invaluable role to his partners, and he is regarded at the best at what he does. He's reliable, studious, hardworking, and attentive to details. Surrounded by creative types-- planners, forgers, architects—Arthur's role is similar to that of a producer. He's the one who takes the plots and ideas and lays down the groundwork to make them happen. He acquires and sets up the workshop for everybody, researches the Mark's background, teaches Ariadne more about dream sharing and architecture, acts as the guinea pig for sedative/kick tests, etc. Not only that, but he tries to keep things in check during planning/brainstorming sessions. Where the creative types bounce ideas off of each other, Arthur asks the questions to remind them of potential setbacks or feasibility. Of the team, Arthur is the jack of all trades. He has numerous, adaptive skills, but he isn't the best at any one thing-- which is ideal for a Point Man. He's good because he's attentive, organized and a researcher, and because he knows a little bit about everything. Arthur is the intellectual of the group, the one who has to corral the creative/emotional (COBB) types.
Arthur is composed, confident and professional. He takes most things in stride, although his calm demeanor can give way to anger from time to time-- even then, though, he quickly returns his focus to the task at hand. Due to the often risky nature of his job, Arthur is no stranger to danger and pain (at least, in the dream world), and he doesn't shy away from it. When Mal has a gun to his head, it's Arthur who remains calm and shakes his head, indicating to Cobb not to give in to her. Although he screams and is obviously in pain when shot in the kneecap, Arthur mostly maintains his steady demeanor and, upon being put out of his misery with a shot to the head (thus kicking him back up a level in the dream), immediately stands up and begins to work on a way to give Cobb more time in the lower layer of the dream. He doesn't hesitate or dwell on his brief torture for even a second, and he doesn't even raise the issue with Cobb until the job is finished.
Unlike Cobb, Arthur can very clearly delineate dreams and reality, which helps him tremendously in the field. Aside from handling guns and explosives well, Arthur is also willing to jump into unarmed combat against armed projections. Knowing it's all a dream no doubt strengthens his resolve in a seemingly deadly situation, and it also helps him adapt to complications quickly because he knows how to manipulate the dream, or at least is prepared to react to the strangeness of a dream. Arthur's derided for being a "stick in the mud" with no imagination; however, that's far from the truth. In the real world, he may be focused on what is or isn't possible, but in dreams, his imagination shines. He is the one who introduces Ariadne to the concept of paradoxical architecture, impossible objects and Escher-esque traps to create a seamless maze, and he uses the same concept to trick a projection into a paradox. More than that, he manages to use his creativity to stage a zero-gravity kick, and in fact, he comes up with the solution to his zero-gravity problem pretty quickly. Rigging explosives to an elevator, he manages to use the force of the explosion to throw the dreamers back up into his level of the dream.
Of course, he could always stand to dream a little bigger... But still, grounded in reality though he may be, he manages to use it to his advantage, and his resourcefulness is certainly an indicator of creativity and imagination.
Because Arthur is so straight-laced and professional, seemingly focused on the job at all times, he can seem impersonal, condescending and bossy. This isn't entirely without merit, since Arthur is condescending and bossy sometimes. He may not be the leader of the entire operation, but he's Cobb's second in command, the one who tends to know the plan and the Mark inside and out, and-- most importantly-- the one tasked with making sure nothing goes wrong. He has to react to the unexpected and come up with plans on the fly, not only to ensure his own safety, but to ensure that the plan continues despite setbacks. As a result, he gives orders and berates screw ups, and he doesn’t let things sit. If he doesn’t do these things, then the entire job could be in jeopardy. When Sub Security unexpectedly show up in Fischer's subconscious, Arthur has to immediately react to escape, lose their tails and keep Fischer in one piece, all at once. So, he tells Eames what to do without hesitating and gets their asses out of their. And, in the beginning, when Nash ruins the job by messing up the carpet details in Saito's love nest, Arthur immediately confronts him on his poor work and insults him.
This isn't to say that Arthur is unfriendly, however, just that he can sometimes come across as stiff and uptight, like the team Giles or something. Still, he isn't all business, all the time—just... most of the time, since Arthur's very focused. There are exceptions, when he lets that hard, professional mask slip on the job and reveal his more personable side, showing that YES, the tight-ass stick in the mud does indeed have feelings. And a sense of humor. And, well, a human side. Arthur's more good-natured (and, in Ariadne's case, flirty) than he lets on. For instance, he uses a potentially life-threatening situation to playfully trick Ariadne into giving him a kiss, and he makes no apologies for it. When Eames warns him about the Security that's about to be all over him, Arthur gives a light hearted response about leading them on a merry chase, and, despite their generally antagonistic interactions, he's somewhat comforting when he gives his teammate a reassuring "go to sleep."
Being an Extractor, a Point Man, isn't just a job for Arthur. He really and truly loves what he does. The technology, the untapped potential of dreams, the ability to harness control over a world, to change and create, this is what he loves. His passion for the work is what keeps him in this dangerous and morally-grey business, rather than the money (substantial though it may be). It's worth noting that given the extremely violating nature of Extraction (and Inception) that Arthur isn't a "good" or "pure" person. He's a well-dressed, gentleman thief and a con-man, although he isn't as good at the actual conning as the others are. Arthur follows the others' leads when it comes time to build a cover (as can be seen in Saito's dream and when he plays the hostage taker in the first level of Fischer's dream).
Anyway, his moral compass is clearly skewed, and he doesn't really regard his marks as people. They're just a part of his job, a means to an end. As far as Arthur's concerned, he's just the dreamer doing what he loves, even if it's at their expense. He doesn't really stop and think about the consequences of what he does to these people. For example, when it comes to discussing Inception, Arthur isn't opposed to the idea of it, or how it could come to change a person's entire life. Instead, he's opposed to it on the grounds that it can't be done. It's impossible, as far as he's concerned, just like the Mr. Charles gamble-- that is, calling the Mark’s attention to the dream, in hopes that they will assume the Extractors are Projections and turn against the real Projections-- is impossible. Arthur is, in fact, fixated on what's possible and what isn't, which is particularly odd considering his interest in shared dreaming and paradoxes and adaptation. It's as though he doesn't completely understand dreams, at least, not on the intuitive/emotional level that Cobb or Eames does. Arthur, for all his paradox building and anti-gravity ninja moves, isn't willing to truly let go of reality and fully take advantage of all the potential dreams have to offer. He seems to understand things on a technical/conceptual level, but not on a creative/intuitive/analytical level. And, until he begins to understand the importance of emotion over reason in dreams, he still has a ways to go.
Arthur isn't perfect. For all his fastidiousness and hard work, he's capable of missing certain super important details... like Fischer's training in how to handle Extractors. You'd think that'd be the first thing Arthur uncovered. However, as point man it's not his job to freak out over these mistakes, and he won't make excuses for himself. He simply adapts, and quickly. While Arthur is great at learning about people and situations, mapping out plans and paying attention to the details, getting out of sticky situations, etc, he DOES lack a deeper understanding of others. He knows about Robert Fischer, but he doesn't understand him, which ultimately limits him as an extractor (but makes him an excellent point man. He's able to research his mark as a mark, not get involved or attached). In all the planning, it's Eames who provides the insights into Fischer and presents the best strategy for Incepting an idea, using psychology and his knowledge of the other man's feelings/relationships/etc. to come up with a solid plan. Arthur, on the other hand, is more literal-minded. While they're talking about emotions and catharsis, he's skeptical of the "maybes" and doesn't see how Fischer's lousy relationship with his dad is helpful or relevant. He has to ask Cobb and Eames the point of certain details like that.
Arthur isn't seen outside of a professional context much in the film, but he does have a few connections to others (outside of a strictly professional one), namely Cobb, Ariadne and Mal. While we never see Arthur and the real Mal interact, he considered her "lovely," and he obviously knew her before her descent into insanity. There isn't much that can be said about his feelings for Mal beyond speculation, but given that she was supposed to be this vivacious, fantastic woman, and she was clearly brilliant, intelligent and creative, I imagine Arthur looked up to her in his early days of dream exploration. Her breakdown and death likely shook him, and it certainly left him with the impression that LIMBO IS A VERY BAD THING. Despite his once-fond feelings for Mal, Arthur isn't taken back by her appearance in Saito's dream, indicating that this is not the first time he's seen her shade. In fact, he seems exasperated, like "NOT AGAIN :|" Rather than get swept up under Mal's "spell" like Cobb does, Arthur reminds him that they have work to do.
Arthur's grounding in reality makes him an ideal Point Man-- and friend-- for Cobb. It helps him keep Cobb on point where he may otherwise become distracted or go off the rails. When they run into Sub Security in Fischer's mind, for example, Cobb's the one to fly off the handle, while Arthur reminds him repeatedly that it isn't that big of a set back, that they'll work through it. When Cobb gets drawn into Saito's deal, Arthur's the one who stands there and reminds him that they have to go, and fast. He doesn't back down from the projections or from Cobb. He obviously respects Cobb, and although he doesn't show it overtly, he does care about him. He's deeply loyal to him, and he does try to confront Cobb on the Mal issue, but it's clear that Arthur's been down that road before with no success, so he doesn't push. He allows Cobb to keep his guilt, all the while looking out for him, trying to keep him in control of himself.
With Ariadne, Arthur builds a friendly connection with her, beyond the professional one he maintains with the others. He engages with her easily, and he shares her enthusiasm for learning about what can be achieved in dreams. More than that, Arthur seems to understand Ariadne's excitement, the way she feels about uncovering the potentials of dreams, the ability to engage in pure creation. Although they never have a heart-to-heart, he understands her feelings, and he's quick to show concern for her. The first time Ariadne encounters Mal, Arthur rushes to her side to give her comforting assurance that she's back in the real world. When he teaches her about totems and paradoxes, Arthur doesn't simply lecture her. He tries to engage with her, to have a dialogue with her, to share with her what he finds fascinating. And he seems to enjoy showing off to her… just a little. It doesn't hurt that she's a pretty, studious girl who likes talking about mazes and whatnot with him.
When it comes to more... antagonistic co-workers, Arthur tries to take them with his usual professionalism and dignity. With Eames, he rarely, if ever, instigates any exchanges of snide remarks, although Arthur will certainly snap at him (and others) when under pressure. Arthur is typically unresponsive, as though he's above getting into petty arguments or rising to Eames's taunts, but he has his silent reactions to the Forger, usually in the form of BITCHY LOOKS. Despite their antagonism, Arthur can clearly set things aside and work well with Eames, and he even offers him reassurance about his own safety. Given the way the two interact, there's obviously a professional history there, and Arthur's likely used to the other man's temperament. He doesn't dislike him as much as their brief exchanges may lead others to believe. In fact, Arthur probably has some respect for Eames, at least as a good thief and forger.
Also, Arthur is totally fabulous and keeps himself impeccably dressed and groomed. When he’s the dreamer, the world takes on a classy, retro-chic look, much like Arthur himself. The décor in Arthur’s dreams is pretty distinctively, well, Arthur. He’s also fond of post-war British painters, and he probably digs the works of Francis Bacon, Emmy Bridgewater, Ben Nicholson. That style of art.
Despite his competence as a point man, Arthur probably won't be a FANTASTIC warden. His inability to really understand others' psyches will be a setback; however, he's always adapting. He will strive to understand his task and work around it. He's dedicated to doing the job and doing it well, and he has a lot at stake. Arthur will have some issue with floods, as while he'll be able to adapt to them, they'll shake his understanding of reality versus dream-like worlds. He will also view death differently than others, and will likely see "Barge Death" despite its setbacks as another form of a kick. While he wouldn't shoot himself in the head in just any sticky situation, he would probably take the Death Toll "kick" over sustaining a long-term injury that would prevent him from doing his job (say, somebody breaks his legs). The Barge twins will be an issue that will mess with him a little, too, although he probably won’t draw attention to it. Also, Arthur’s totem will be especially important to him on the Barge. As a loaded die, it illustrates his desire to always know the odds, and to control the odds, even, and he won't allow anybody to touch it or see the number it lands on.
Path to Redemption: N/A
History: Nothing at all is known about his past, outside of his role as Cobb's long-time partner. Given his warden status, his history is honestly largely irrelevant; he won't open up about it, because it isn't anybody else's business. He's one of those guys who makes his job his life; knowing what he does and the attitude he takes to it should lend enough insight into who he is.
Given, however, his understanding of Ariadne's feelings as she's introduced to the world of shared dreaming, his younger age from the others, and Miles's comment that Cobb is back to steal one of his best and brightest students (implying that Cobb has done it before), I'm assuming that either Cobb or Mal met him when he was still a student and drafted him in their experiments into the depth of dreaming. This would match the film's timeline, since Arthur clearly knew Mal to some degree before she went insane.
Arthur likely grew up middle-class, although the details are unknown beyond that. Always fastidious, he was an excellent student and an overachiever. He went to a prestigious university to study Information Systems, with a minor in International Studies. It looked like Arthur was in for a bright, boring future until the professor of one of his elective courses introduced him to the Cobbs. He was enamored by the technology of shared dreaming and began to focus his attentions on it, which pulled his focus away from his studies. Shared dreaming inspired Arthur, and in the dream world, he was able to experiment, create and learn things he never could in the waking world. There, he likely picked up and honed many of his skills, such as firearms and hand-to-hand combat (not to mention paradox building).
Despite his straight-laced exterior, Arthur wasn't as wholesome as he appeared. As a young man who was fascinated with knowing and manipulating the odds, he dabbled with seedy ventures and then fell into gambling, which he did well at, through attentiveness or… well, cheating. (Considering, when you take away the fancy "point man" title, Arthur and other extractors are really just conmen/thieves, it would be strange if Arthur didn't have a less than savory past. Plus, his totem is a loaded die.) Although there were several close calls, Arthur was generally able to sweep the tables, which allowed him to fund his lifestyle and experiments in shared dreaming. Although the money was nice, he was more interested in the act of beating or controlling the odds and succeeding than raking in the cash. It was something that excited him, although not as much as the dreams did.
After Mal's descent into madness and subsequent suicide, Arthur went with Cobb into the extraction business, out of loyalty to the other man and a passion for the PASIV technology. He provided the research and the groundwork to make many of their jobs possible, while Cobb was the big planner. An unstated amount of time passed, and then: FILM SYNOPSIS.
Sample Journal Entry:
[You can hear the rustle of papers as they're being flipped through. When Arthur speaks up, he sounds thoughtful.]
According to the Admiral, the passage of time moves much more slowly here than in the real world. Seconds become months, become years. Perfect for getting a job like this done without anybody knowing you're gone. [A brief pause.] At least, that's my understanding of the Admiral's deal. I'm sure you all know how often best laid plans live up to expectations...
[There's a silence, then the sound of something small and plastic dropping onto a hard surface.]
Do you remember how you got here? I don't mean the events that led to you making your deal, coming to the Barge. I mean actually arriving here, on the ship.
Sample RP: FROM A TEST RUN THREAD, so uh, this may not make a ton of sense, since I'm removing it from its context:
The glass touches against the bar as he lowers it, his eyes glancing to the side to catch Ariadne's approach. Head turning slightly, Arthur looks over his shoulder and offers her a slight smile. She's a welcome sight, at least. He doesn't outright answer her question, but his response is enough to clue her in.
"Tell me I'm not that transparent." Then, with one hand, he pulls a stool out for her and motions at it in invitation. "Please."
His fingers brush against the condensation on his glass, and he looks up at the ceiling, then around the bar. "As far as prisons go," he begins, keeping his voice low as he speaks to her, "I think I'd prefer a maze. The illusion of freedom lends itself to a more open subject."
Oh, Arthur. You can't even make small talk without relating it back to work. His gaze drifts over to Cobb, then Fischer, and he quickly looks away from them, back to Ariadne. Fischer's appearance is, to say the least, something of a concern for him. In his research on the Barge and its inhabitants, he found out very quickly that secrets had a way of coming out, bluntly and inelegantly. He says nothing, though, schooling himself to appear as a total stranger to the former mark. His perfect neutrality is ruined, though, when a familiar presence settles down next to him. There's the slightest bit of tension in his shoulders at Eames's remark. "Yeah, thank you," he says dryly, ignoring the chuckle.
A bit of a kick. Right. He rolls his eyes and nods his head to the side as though to say "Haha, very funny" in the most long-suffering way he can without actually articulating it, then turns to the other man more completely. "In case you haven't noticed, Eames, we're not actually at sea."
[SNIP SNIP AND THEN THERE WERE OTHER TAGS]
He looks at Ariadne, considering her suggestion, and chuckles a little, taking a drink. He doesn't answer, though. In his experience, questioning reality too much once you're awake (and he knows. Nobody else knows the weight of his dice. Nobody knows the number it lands on. He's tested it countless times since his arrival) just blurs the lines. It's asking for trouble.
When Eames's hands go for his belt, Arthur puts on an exasperated expression and turns his head away just slightly. He's not going to give the forger an audience. "It should also interest you to know that we're in public, Eames," he adds in a mildly condescending voice, eyes flickering over to Fischer briefly.
Once Saito's name leaves Ariadne's mouth, he gives her a very quick, pointed look, a silent cue to tread carefully. For once, he's thankful for Eames's commentary, as it gives him a moment to loosen up and force an air of casualness before Fischer's approach. He looks at Eames and lets out a "good natured," self-deprecating laugh at the remark about his skin tone, then takes another drink.
"Hm?" He turns to look at the businessman, as though he'd just been pulled out of a pleasant conversation and didn't quite catch Fischer's question.
[SNIP SNIP AND THEN THERE WERE OTHER TAGS]
Arthur, meanwhile, doesn't have any of the same ties to Saito or Fischer. He'd barely spent any time with the businessmen during the mission, and in his research into Fischer's life, he kept himself coolly detached. Both men had been just another job to him.
"Competitor?" He lowers his glass to the bar and smiles slightly. Even when acting, Arthur isn't much for overt displays of emotion. "Now there's a topic that's bound to get messy." He nods to Fischer's own glass and adds, "Especially on a night off." He raises his glass, a friendly gesture. "We should be discussing pleasure, not business, Mr...?"
Special Notes: Arthur will have the PASIV with him, along with a supply of Somnacin that will replenish every month, assuming we still allow consumables that characters arrive with to replenish monthly. Both will be locked up tight in his cabin.
User LJ: Nein
AIM/IM: pyrocornflakes
E-mail: rosloops at gmail
Other Characters: Cobra effin' Commander, Major West, Sam Tyler, Neil McCormick
Character Name: Arthur
Series: Inception
Age: Late 20s
From When?: After he escapes the van in the synchronized kick.
Inmate/Warden: Warden. When he realizes Cobb stayed behind in Limbo to get Saito, Arthur makes a deal with the Admiral to secure their safe return to the waking world (partially to secure their safety, and partially because... Saito getting shot was sort of his fault, anyway). He's a serious, dedicated worker, so he plans on getting the job done with his inmate and leaving once it's finished.
Item: Arthur's Warden Item will just be a regular notepad. However, he also carries his totem, a loaded die, at all times. I just feel it's worth noting, in case anybody wonders why I wouldn't make the totem his item: doing so sort of implies that it can be manipulated by somebody other than him (since it'd be connected to the Barge/Admiral), which defeats the purpose of the totem as his link to reality.
Abilities/Powers: None, but Arthur's highly intelligent and resourceful. He's a skilled fighter, fairly solid researcher, and he's capable of adapting to dangerous challenges without hesitation. Arthur's proficient in hand-to-hand and an array of firearms and explosives.
Personality: Arthur's occupation tells a great deal about who he is. Although it would be simplistic to sum him up solely as a Point Man-- as, despite his attempts at maintaining a professional appearance nearly the entirety of his presence in canon, he is more than his job-- it's the best place to start to get an idea of him. Arthur plays a nearly invaluable role to his partners, and he is regarded at the best at what he does. He's reliable, studious, hardworking, and attentive to details. Surrounded by creative types-- planners, forgers, architects—Arthur's role is similar to that of a producer. He's the one who takes the plots and ideas and lays down the groundwork to make them happen. He acquires and sets up the workshop for everybody, researches the Mark's background, teaches Ariadne more about dream sharing and architecture, acts as the guinea pig for sedative/kick tests, etc. Not only that, but he tries to keep things in check during planning/brainstorming sessions. Where the creative types bounce ideas off of each other, Arthur asks the questions to remind them of potential setbacks or feasibility. Of the team, Arthur is the jack of all trades. He has numerous, adaptive skills, but he isn't the best at any one thing-- which is ideal for a Point Man. He's good because he's attentive, organized and a researcher, and because he knows a little bit about everything. Arthur is the intellectual of the group, the one who has to corral the creative/emotional (COBB) types.
Arthur is composed, confident and professional. He takes most things in stride, although his calm demeanor can give way to anger from time to time-- even then, though, he quickly returns his focus to the task at hand. Due to the often risky nature of his job, Arthur is no stranger to danger and pain (at least, in the dream world), and he doesn't shy away from it. When Mal has a gun to his head, it's Arthur who remains calm and shakes his head, indicating to Cobb not to give in to her. Although he screams and is obviously in pain when shot in the kneecap, Arthur mostly maintains his steady demeanor and, upon being put out of his misery with a shot to the head (thus kicking him back up a level in the dream), immediately stands up and begins to work on a way to give Cobb more time in the lower layer of the dream. He doesn't hesitate or dwell on his brief torture for even a second, and he doesn't even raise the issue with Cobb until the job is finished.
Unlike Cobb, Arthur can very clearly delineate dreams and reality, which helps him tremendously in the field. Aside from handling guns and explosives well, Arthur is also willing to jump into unarmed combat against armed projections. Knowing it's all a dream no doubt strengthens his resolve in a seemingly deadly situation, and it also helps him adapt to complications quickly because he knows how to manipulate the dream, or at least is prepared to react to the strangeness of a dream. Arthur's derided for being a "stick in the mud" with no imagination; however, that's far from the truth. In the real world, he may be focused on what is or isn't possible, but in dreams, his imagination shines. He is the one who introduces Ariadne to the concept of paradoxical architecture, impossible objects and Escher-esque traps to create a seamless maze, and he uses the same concept to trick a projection into a paradox. More than that, he manages to use his creativity to stage a zero-gravity kick, and in fact, he comes up with the solution to his zero-gravity problem pretty quickly. Rigging explosives to an elevator, he manages to use the force of the explosion to throw the dreamers back up into his level of the dream.
Of course, he could always stand to dream a little bigger... But still, grounded in reality though he may be, he manages to use it to his advantage, and his resourcefulness is certainly an indicator of creativity and imagination.
Because Arthur is so straight-laced and professional, seemingly focused on the job at all times, he can seem impersonal, condescending and bossy. This isn't entirely without merit, since Arthur is condescending and bossy sometimes. He may not be the leader of the entire operation, but he's Cobb's second in command, the one who tends to know the plan and the Mark inside and out, and-- most importantly-- the one tasked with making sure nothing goes wrong. He has to react to the unexpected and come up with plans on the fly, not only to ensure his own safety, but to ensure that the plan continues despite setbacks. As a result, he gives orders and berates screw ups, and he doesn’t let things sit. If he doesn’t do these things, then the entire job could be in jeopardy. When Sub Security unexpectedly show up in Fischer's subconscious, Arthur has to immediately react to escape, lose their tails and keep Fischer in one piece, all at once. So, he tells Eames what to do without hesitating and gets their asses out of their. And, in the beginning, when Nash ruins the job by messing up the carpet details in Saito's love nest, Arthur immediately confronts him on his poor work and insults him.
This isn't to say that Arthur is unfriendly, however, just that he can sometimes come across as stiff and uptight, like the team Giles or something. Still, he isn't all business, all the time—just... most of the time, since Arthur's very focused. There are exceptions, when he lets that hard, professional mask slip on the job and reveal his more personable side, showing that YES, the tight-ass stick in the mud does indeed have feelings. And a sense of humor. And, well, a human side. Arthur's more good-natured (and, in Ariadne's case, flirty) than he lets on. For instance, he uses a potentially life-threatening situation to playfully trick Ariadne into giving him a kiss, and he makes no apologies for it. When Eames warns him about the Security that's about to be all over him, Arthur gives a light hearted response about leading them on a merry chase, and, despite their generally antagonistic interactions, he's somewhat comforting when he gives his teammate a reassuring "go to sleep."
Being an Extractor, a Point Man, isn't just a job for Arthur. He really and truly loves what he does. The technology, the untapped potential of dreams, the ability to harness control over a world, to change and create, this is what he loves. His passion for the work is what keeps him in this dangerous and morally-grey business, rather than the money (substantial though it may be). It's worth noting that given the extremely violating nature of Extraction (and Inception) that Arthur isn't a "good" or "pure" person. He's a well-dressed, gentleman thief and a con-man, although he isn't as good at the actual conning as the others are. Arthur follows the others' leads when it comes time to build a cover (as can be seen in Saito's dream and when he plays the hostage taker in the first level of Fischer's dream).
Anyway, his moral compass is clearly skewed, and he doesn't really regard his marks as people. They're just a part of his job, a means to an end. As far as Arthur's concerned, he's just the dreamer doing what he loves, even if it's at their expense. He doesn't really stop and think about the consequences of what he does to these people. For example, when it comes to discussing Inception, Arthur isn't opposed to the idea of it, or how it could come to change a person's entire life. Instead, he's opposed to it on the grounds that it can't be done. It's impossible, as far as he's concerned, just like the Mr. Charles gamble-- that is, calling the Mark’s attention to the dream, in hopes that they will assume the Extractors are Projections and turn against the real Projections-- is impossible. Arthur is, in fact, fixated on what's possible and what isn't, which is particularly odd considering his interest in shared dreaming and paradoxes and adaptation. It's as though he doesn't completely understand dreams, at least, not on the intuitive/emotional level that Cobb or Eames does. Arthur, for all his paradox building and anti-gravity ninja moves, isn't willing to truly let go of reality and fully take advantage of all the potential dreams have to offer. He seems to understand things on a technical/conceptual level, but not on a creative/intuitive/analytical level. And, until he begins to understand the importance of emotion over reason in dreams, he still has a ways to go.
Arthur isn't perfect. For all his fastidiousness and hard work, he's capable of missing certain super important details... like Fischer's training in how to handle Extractors. You'd think that'd be the first thing Arthur uncovered. However, as point man it's not his job to freak out over these mistakes, and he won't make excuses for himself. He simply adapts, and quickly. While Arthur is great at learning about people and situations, mapping out plans and paying attention to the details, getting out of sticky situations, etc, he DOES lack a deeper understanding of others. He knows about Robert Fischer, but he doesn't understand him, which ultimately limits him as an extractor (but makes him an excellent point man. He's able to research his mark as a mark, not get involved or attached). In all the planning, it's Eames who provides the insights into Fischer and presents the best strategy for Incepting an idea, using psychology and his knowledge of the other man's feelings/relationships/etc. to come up with a solid plan. Arthur, on the other hand, is more literal-minded. While they're talking about emotions and catharsis, he's skeptical of the "maybes" and doesn't see how Fischer's lousy relationship with his dad is helpful or relevant. He has to ask Cobb and Eames the point of certain details like that.
Arthur isn't seen outside of a professional context much in the film, but he does have a few connections to others (outside of a strictly professional one), namely Cobb, Ariadne and Mal. While we never see Arthur and the real Mal interact, he considered her "lovely," and he obviously knew her before her descent into insanity. There isn't much that can be said about his feelings for Mal beyond speculation, but given that she was supposed to be this vivacious, fantastic woman, and she was clearly brilliant, intelligent and creative, I imagine Arthur looked up to her in his early days of dream exploration. Her breakdown and death likely shook him, and it certainly left him with the impression that LIMBO IS A VERY BAD THING. Despite his once-fond feelings for Mal, Arthur isn't taken back by her appearance in Saito's dream, indicating that this is not the first time he's seen her shade. In fact, he seems exasperated, like "NOT AGAIN :|" Rather than get swept up under Mal's "spell" like Cobb does, Arthur reminds him that they have work to do.
Arthur's grounding in reality makes him an ideal Point Man-- and friend-- for Cobb. It helps him keep Cobb on point where he may otherwise become distracted or go off the rails. When they run into Sub Security in Fischer's mind, for example, Cobb's the one to fly off the handle, while Arthur reminds him repeatedly that it isn't that big of a set back, that they'll work through it. When Cobb gets drawn into Saito's deal, Arthur's the one who stands there and reminds him that they have to go, and fast. He doesn't back down from the projections or from Cobb. He obviously respects Cobb, and although he doesn't show it overtly, he does care about him. He's deeply loyal to him, and he does try to confront Cobb on the Mal issue, but it's clear that Arthur's been down that road before with no success, so he doesn't push. He allows Cobb to keep his guilt, all the while looking out for him, trying to keep him in control of himself.
With Ariadne, Arthur builds a friendly connection with her, beyond the professional one he maintains with the others. He engages with her easily, and he shares her enthusiasm for learning about what can be achieved in dreams. More than that, Arthur seems to understand Ariadne's excitement, the way she feels about uncovering the potentials of dreams, the ability to engage in pure creation. Although they never have a heart-to-heart, he understands her feelings, and he's quick to show concern for her. The first time Ariadne encounters Mal, Arthur rushes to her side to give her comforting assurance that she's back in the real world. When he teaches her about totems and paradoxes, Arthur doesn't simply lecture her. He tries to engage with her, to have a dialogue with her, to share with her what he finds fascinating. And he seems to enjoy showing off to her… just a little. It doesn't hurt that she's a pretty, studious girl who likes talking about mazes and whatnot with him.
When it comes to more... antagonistic co-workers, Arthur tries to take them with his usual professionalism and dignity. With Eames, he rarely, if ever, instigates any exchanges of snide remarks, although Arthur will certainly snap at him (and others) when under pressure. Arthur is typically unresponsive, as though he's above getting into petty arguments or rising to Eames's taunts, but he has his silent reactions to the Forger, usually in the form of BITCHY LOOKS. Despite their antagonism, Arthur can clearly set things aside and work well with Eames, and he even offers him reassurance about his own safety. Given the way the two interact, there's obviously a professional history there, and Arthur's likely used to the other man's temperament. He doesn't dislike him as much as their brief exchanges may lead others to believe. In fact, Arthur probably has some respect for Eames, at least as a good thief and forger.
Also, Arthur is totally fabulous and keeps himself impeccably dressed and groomed. When he’s the dreamer, the world takes on a classy, retro-chic look, much like Arthur himself. The décor in Arthur’s dreams is pretty distinctively, well, Arthur. He’s also fond of post-war British painters, and he probably digs the works of Francis Bacon, Emmy Bridgewater, Ben Nicholson. That style of art.
Despite his competence as a point man, Arthur probably won't be a FANTASTIC warden. His inability to really understand others' psyches will be a setback; however, he's always adapting. He will strive to understand his task and work around it. He's dedicated to doing the job and doing it well, and he has a lot at stake. Arthur will have some issue with floods, as while he'll be able to adapt to them, they'll shake his understanding of reality versus dream-like worlds. He will also view death differently than others, and will likely see "Barge Death" despite its setbacks as another form of a kick. While he wouldn't shoot himself in the head in just any sticky situation, he would probably take the Death Toll "kick" over sustaining a long-term injury that would prevent him from doing his job (say, somebody breaks his legs). The Barge twins will be an issue that will mess with him a little, too, although he probably won’t draw attention to it. Also, Arthur’s totem will be especially important to him on the Barge. As a loaded die, it illustrates his desire to always know the odds, and to control the odds, even, and he won't allow anybody to touch it or see the number it lands on.
Path to Redemption: N/A
History: Nothing at all is known about his past, outside of his role as Cobb's long-time partner. Given his warden status, his history is honestly largely irrelevant; he won't open up about it, because it isn't anybody else's business. He's one of those guys who makes his job his life; knowing what he does and the attitude he takes to it should lend enough insight into who he is.
Given, however, his understanding of Ariadne's feelings as she's introduced to the world of shared dreaming, his younger age from the others, and Miles's comment that Cobb is back to steal one of his best and brightest students (implying that Cobb has done it before), I'm assuming that either Cobb or Mal met him when he was still a student and drafted him in their experiments into the depth of dreaming. This would match the film's timeline, since Arthur clearly knew Mal to some degree before she went insane.
Arthur likely grew up middle-class, although the details are unknown beyond that. Always fastidious, he was an excellent student and an overachiever. He went to a prestigious university to study Information Systems, with a minor in International Studies. It looked like Arthur was in for a bright, boring future until the professor of one of his elective courses introduced him to the Cobbs. He was enamored by the technology of shared dreaming and began to focus his attentions on it, which pulled his focus away from his studies. Shared dreaming inspired Arthur, and in the dream world, he was able to experiment, create and learn things he never could in the waking world. There, he likely picked up and honed many of his skills, such as firearms and hand-to-hand combat (not to mention paradox building).
Despite his straight-laced exterior, Arthur wasn't as wholesome as he appeared. As a young man who was fascinated with knowing and manipulating the odds, he dabbled with seedy ventures and then fell into gambling, which he did well at, through attentiveness or… well, cheating. (Considering, when you take away the fancy "point man" title, Arthur and other extractors are really just conmen/thieves, it would be strange if Arthur didn't have a less than savory past. Plus, his totem is a loaded die.) Although there were several close calls, Arthur was generally able to sweep the tables, which allowed him to fund his lifestyle and experiments in shared dreaming. Although the money was nice, he was more interested in the act of beating or controlling the odds and succeeding than raking in the cash. It was something that excited him, although not as much as the dreams did.
After Mal's descent into madness and subsequent suicide, Arthur went with Cobb into the extraction business, out of loyalty to the other man and a passion for the PASIV technology. He provided the research and the groundwork to make many of their jobs possible, while Cobb was the big planner. An unstated amount of time passed, and then: FILM SYNOPSIS.
Sample Journal Entry:
[You can hear the rustle of papers as they're being flipped through. When Arthur speaks up, he sounds thoughtful.]
According to the Admiral, the passage of time moves much more slowly here than in the real world. Seconds become months, become years. Perfect for getting a job like this done without anybody knowing you're gone. [A brief pause.] At least, that's my understanding of the Admiral's deal. I'm sure you all know how often best laid plans live up to expectations...
[There's a silence, then the sound of something small and plastic dropping onto a hard surface.]
Do you remember how you got here? I don't mean the events that led to you making your deal, coming to the Barge. I mean actually arriving here, on the ship.
Sample RP: FROM A TEST RUN THREAD, so uh, this may not make a ton of sense, since I'm removing it from its context:
The glass touches against the bar as he lowers it, his eyes glancing to the side to catch Ariadne's approach. Head turning slightly, Arthur looks over his shoulder and offers her a slight smile. She's a welcome sight, at least. He doesn't outright answer her question, but his response is enough to clue her in.
"Tell me I'm not that transparent." Then, with one hand, he pulls a stool out for her and motions at it in invitation. "Please."
His fingers brush against the condensation on his glass, and he looks up at the ceiling, then around the bar. "As far as prisons go," he begins, keeping his voice low as he speaks to her, "I think I'd prefer a maze. The illusion of freedom lends itself to a more open subject."
Oh, Arthur. You can't even make small talk without relating it back to work. His gaze drifts over to Cobb, then Fischer, and he quickly looks away from them, back to Ariadne. Fischer's appearance is, to say the least, something of a concern for him. In his research on the Barge and its inhabitants, he found out very quickly that secrets had a way of coming out, bluntly and inelegantly. He says nothing, though, schooling himself to appear as a total stranger to the former mark. His perfect neutrality is ruined, though, when a familiar presence settles down next to him. There's the slightest bit of tension in his shoulders at Eames's remark. "Yeah, thank you," he says dryly, ignoring the chuckle.
A bit of a kick. Right. He rolls his eyes and nods his head to the side as though to say "Haha, very funny" in the most long-suffering way he can without actually articulating it, then turns to the other man more completely. "In case you haven't noticed, Eames, we're not actually at sea."
[SNIP SNIP AND THEN THERE WERE OTHER TAGS]
He looks at Ariadne, considering her suggestion, and chuckles a little, taking a drink. He doesn't answer, though. In his experience, questioning reality too much once you're awake (and he knows. Nobody else knows the weight of his dice. Nobody knows the number it lands on. He's tested it countless times since his arrival) just blurs the lines. It's asking for trouble.
When Eames's hands go for his belt, Arthur puts on an exasperated expression and turns his head away just slightly. He's not going to give the forger an audience. "It should also interest you to know that we're in public, Eames," he adds in a mildly condescending voice, eyes flickering over to Fischer briefly.
Once Saito's name leaves Ariadne's mouth, he gives her a very quick, pointed look, a silent cue to tread carefully. For once, he's thankful for Eames's commentary, as it gives him a moment to loosen up and force an air of casualness before Fischer's approach. He looks at Eames and lets out a "good natured," self-deprecating laugh at the remark about his skin tone, then takes another drink.
"Hm?" He turns to look at the businessman, as though he'd just been pulled out of a pleasant conversation and didn't quite catch Fischer's question.
[SNIP SNIP AND THEN THERE WERE OTHER TAGS]
Arthur, meanwhile, doesn't have any of the same ties to Saito or Fischer. He'd barely spent any time with the businessmen during the mission, and in his research into Fischer's life, he kept himself coolly detached. Both men had been just another job to him.
"Competitor?" He lowers his glass to the bar and smiles slightly. Even when acting, Arthur isn't much for overt displays of emotion. "Now there's a topic that's bound to get messy." He nods to Fischer's own glass and adds, "Especially on a night off." He raises his glass, a friendly gesture. "We should be discussing pleasure, not business, Mr...?"
Special Notes: Arthur will have the PASIV with him, along with a supply of Somnacin that will replenish every month, assuming we still allow consumables that characters arrive with to replenish monthly. Both will be locked up tight in his cabin.