Tony Stark

The interview had been changed from eight in the evening to five at the last minute. Robert had had all of an hour’s notice, which was annoying. It meant that the five o’clock dinner reservation had to be cancelled. It meant he had to find something to eat at home to tide him over until after, when he could catch a late dinner instead. He’s irritable when he shows up, but he tries to shake it off. It’s not long before he all but forgets his own inconvenience about the change in time because, as he chats with Tom as they’re getting the microphones set up and doing camera tests, it’s becoming apparent that the time change was more than just inconvenient for him. He asks him if he’s alright, and Tom says he’s fine, just fine. But he’s not fine. In fact, he’s far from it.

Robert was almost certain that no one else noticed it, but he had. Tom’s on edge in a way he’s never seen him, and if he didn’t know any better, he’d wonder if he was riding a particularly nasty drug high. But it’s not that kind of high, it’s something else entirely. Something that, from the looks of him, hadn’t gone as planned. Robert had wondered in passing if Tom was into, shall we say, kinky extracurricular activities. How could he not at least think it? To watch the man playing Loki was captivating, and he could see, in nuances of his performance, how he put something distinctly dominant into the role. Here again he feels like he might be the only one to see it, the only one to wonder — at least he thinks that anyone else who wonders has to be equally as familiar with the lifestyle as he is.

Robert knows from experience that sometimes people who are generally submissive can turn the tables (so to speak) with incredible skill. Either by switching, topping on occasion, or in acting, embodying the kind of Dom they look for, the kind of mannerisms and behaviors that really turn them on. Robert sees that in Tom, sees the sexuality that he brings to Loki, sees the darkness there and the desire in how he embodies what he wants to find. Maybe he’s found it. He’s found something, anyway, because from the looks of him today, he’d come in to the interview right out of the middle of a scene that he hadn’t had time to see through to the end. He’d certainly not had time to come back down, but as the interview is about to start, he’s not so sure that he’d even had time to finish. He’s out of it in such a strange way, like he’d been yanked right out of that moment where he starts to leave his body and forced to re-inhabit it without the release that let him come back down naturally.

He wonders if Tom knows that he suspects. If he does, there’s no way to talk about it now. All thought of how awkward the interview would be otherwise aside, he reaches over to let his hand simply rest against his upper back to soothe some of his jangling nerves. Not for the sake of the interview, but just to help him settle. He guessed that being unable to take the time to come back down, having to skip all of the aftercare, that he was in need of some simple touch, at the very least. It certainly seems to help, though he’s definitely different through the whole interview than he’s seen him before. Like he’s not quite sure of himself, not quite inside his own body quite right, and he keeps looking over at him, talking to Robert as though he needs the reassurance sometimes when he answers.

They’re nearly to the end and it seems as though Tom is doing better. He seems calmer, more himself, more able to focus, and so he pulls his hand away. He’d be lying to say that part of pulling away hadn’t been a kind of test, curious to see if he’d been right before and wrong now, to see if Tom was still desperate, still needed to curl into something outside of himself to quiet his nerves. And from the looks of it, he was. Practically the instant he pulls away, Tom is diving for his hand like he wants to pull his arm back around him like a blanket. Robert doesn’t give him the chance, just moves back to where he’d been, a soothing hand rubbing over Tom’s shoulder blade before settling there, thumb gently trailing back and forth.

But now he knows. In the next moment their eyes lock, he feels certain that Tom can tell. And if he can’t? Then he will. Because there’s no way he’s walking out of this interview without asking. Without ascertaining if Tom’s alright, if he has plans to finish this, and if not, if perhaps he can lend a hand, among other things he’d be willing to lend him.

Placeholder.

PLAYER INFORMATION

➤ NAME: Col.
➤ AGE: I’m 28.
➤ JOURNAL: http://starkhasaheart.dreamwidth.org/
➤ CURRENTLY PLAYED: Cael Malloy.

CHARACTER INFORMATION

➤ CHARACTER NAME: Tony Stark.
➤ SERIES: Marvel Cinematic Universe.
➤ CHARACTER AGE: 41.

➤ REFERENCE: http://marvel.wikia.com/Iron_Man_%28Anthony_%22Tony%22_Stark%29

➤ CANON POINT: Just before the end of Iron Man 2 (before saving Pepper Potts).
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➤ SEXUALITY: Tony Stark likes sex. He’s extremely confident, comfortable in his skin, and a serious flirt. He can be considered a womanizer. His attention could be caught by a man, but that man would have to be interesting to him, which means he would have to be intelligent as he is. For Tony, sex is sex, and women are easier but no one is off limits, because for Tony, nothing is off limits.

➤ PERSONALITY: Please explain your character's personality. Their strengths, weaknesses, flaws, hobbies - the things that make them them. Please be sure to include any significant character relationships that influence the character and make them who they are, especially if there are any romantic interests that are shown to shape the characters sexuality. This section has a minimum of 250 words.

Tony Stark is an inventive genius with expertise in the fields of mathematics, physics, chemistry and computer science. He designed the Iron Man suit and modified the arc reactor his father designed to work both to keep shrapnel from an accident from reaching his heart, and also to power the Iron Man suit. After inheriting Stark Industries from his father, he turned it into a multi-billion dollar industry complex that contracts advanced weaponry and munitions for the U.S. government.

Tony is neurotic and doesn’t like to have things handed to him. He argues with his robots and his computer system, JARVIS. He’s impulsive, and will sell all of his art on a whim, take risks without thinking about the consequences first, or experiment on himself for the sake of his inventions. In that sense, he’s also self-destructive, and he often doesn’t sleep much, if at all, when he’s working.

Tony is a billionaire playboy. He collects classic cars and drives modern super cars. He likes showing off and being the center of attention, whether the attention is because of his skill and intelligence or his appearance and wealth, though often is a combination. He’s extremely sexual and a relentless flirt, often making suggestive remarks just for the hell of it. He has an ongoing working relationship with Pepper Potts that, at times, seems to bleed into a quasi-relationship. Tony is interested in her, but at the canon point that I’ve taken him from, they don’t have an established relationship.

Tony is narcissistic and cocky, but he’s good enough to back it all up, at least in his own opinion. He’s sarcastic, making clever quips and one liners, for his own amusement and for easy deflection.

There’s a depth to Tony’s character as well. He has unresolved issues with his father. Also, though by the canon point he is taken from he has created an arc reactor from Vibranium that isn’t toxic like the Palladium one was, he has faced his own mortality, both with the toxic reactor and the initial accident and continuing threats on his life. He doesn’t deal well with the reality of it when it seems he is going to die soon, opting to party hard rather than face a problem he can’t solve.

➤ POWERS: At this canon point, no real “powers” per say, unless his massive genius counts.

➤ SUITABILITY: As far as the sexual component of the game, Tony will practically be in his element. The new environment of the Done, however, will initially be something of a wrench thrown in his gears. He’ll spend time initially trying to figure out what happened and why he’s in the Dome, but he will adjust and begin to form alliances with others and set up shop somewhere in the Dome.

➤ FIRST PERSON EXAMPLE: A strong example of your character over a network post. This can be an example from a previous game or a lengthy thread from another community. So long as it's a strong, first person demonstration of character voice. LINKED EXAMPLES CAN NOT BE OLDER THAN SIX MONTHS.

[Tony has just picked the device up and is not entirely impressed with it. He could have designed it better, and if we’re being honest here, he’s already considering enhancements for the device. Before he uses it to broadcast, he’s turned it over a few times and poked through the software enough to get a sense of how he might best alter it.

He clicks on the video and sets it to broadcast to everyone. He appears in the center of the screen, looking only slightly disheveled.]

All right, I’ve seen this map bullshit, but none of it’s familiar, so if anyone out there has any idea where the hell we actually are, I’d appreciate it if you’d let me know.

➤ THIRD PERSON EXAMPLE:

The truth is, these days, the naughty drawer of his desk is mostly ignored. He's busy working, fine tuning, and the disappointing sex lately has him not seeking it quite so actively. It's part of why he wants it so much now, the fact that he hasn't had it in so long, and never like this, never with dirty talk that fuels his mind as well as his cock. He doesn't miss how, when Reid pulls his hand away from the reactor, it's reluctant. He wants to keep that link, wants to still feel it, and he's not alone. Tony wants that, too, wants him to touch, stroke the boundary between machine and flesh.

He'd urge Reid to brace his heel on the edge of the desk, but he wants him closer than that. His hand is skimming down his thigh, letting Reid steal another kiss before he lifts it up. This isn't just going to be a one time thing, if he has anything to say about it. He's just too perfect, biting and soft all at once, sharp, glittering intellect, all the promise and excitement of what they can do together. He pulls back, grabs for the bottle again, and changes his ind, comes back for another one, lingering and nipping at his lower lip as he pulls away. He pulls Reid's leg up against his shoulder, braced there to keep him spread, for access, and he flips the bottle open and spreads some over his fingers and reaches down to circle around his entrance, pressing very gently, testing and teasing, fingertip flicking back and forth over his entrance before exerting some pressure, letting one finger slip in slowly, easing him open.

Spencer shifts closer, he's moaning and Tony's barely touching him. It's the whine, though, that pulls at something deep inside him. His pupils are blown with desire, and he's easing into him with that one finger as Reid's asking for more. Asking with words and with his body, the way he moves, invites it.

Tony turns his head and nips at Reid's thumb, sucking the tip of it and imagining getting on his knees, sucking him off, maybe distracting him while he tried to work… maybe Reid on his knees breaking up the monotony of desk work… but then more resurfaces. Reid wants more, he wants more, and one finger is becoming two, and they're pressing deeply inside of him, eased by how Reid is moving, fitful and encouraging.

"More?" and now it's a question. More than this? And he hardly waits for an answer, fingers stroking in and out, scissoring to spread him open and when he gets his response, from hips or lips, two is becoming three because he wants to fuck him. He wants it now, five minutes ago, from the second he'd opened his mouth and it became clear that he was someone with whom Tony could really talk. He wanted to hold him close, as close as he could, and just not feel so alone.