Anna Maria Palermo


Anna Palermo is a young digital and intermedia artist on "leave of absence" from Yale's MFA program… indefinitely. She had a couple of small public commissions in California, and exhibited at some very minor galleries in San Francisco; at RISD, she participated in a first-year show put together by digital + media artists, performance artists, engineers, theatre techs and glass artists. Far from famous, she might be known to people who follow intermedia, students in arts/technology programs, or fans of public-space installation art. One piece created for (and from) the New York subway gained some Web press, and she's built two semi-permanent pieces in Connecticut and upstate New York. Her web page is an interesting experience, full of sidetracks and little playthings: a mouseover "instrument" that allows a viewer to create and record tracks, using a colorful interface to assemble loops from a collection of samples and creating accompanying video from strangely altered clips of everyday street life; a few similar toys that use some kind of key input to create more atmospheric, ambient pictures and sound; a tutorial for the Max/MSP "language." And, of course, there is the obligatory portfolio—but hers is composed of more videos than stills, creatively edited clips of people walking through and experiencing her work (whether in public spaces or gallery shows), children playing with her park and subway techno-sculptures, and video footage used in actual works.


Anna may not take up much physical space—but in a non-idealized, inked and pierced frame of reference, she's a knockout. Even if one finds the piercings revolting, she makes an impression. Five-three, whipcord-lean, she has the innate grace of a natural dancer or athlete.

Her features are delicate, her face a bit triangular, and the short slightly-punk haircut accentuates her pixie-ish beauty. Deep brown eyes devour the world with the intense hunger of a visual artist. The color varies from black to cognac; when the light hits just right, her irises have the amber glow of tigereye. A hint of olive in her skin confirms her Mediterranean roots, along with the shape of her nose. Dark-brown hair falls around her temples (and occasionally into her eyes) in a stylish, tousled mop, short and just a little wavy, shortening to a punk buzzcut at the nape of her neck.

She has multiple piercings, and usually wears 3mm gauge jewelry in each earlobe, with three more bits of jewelry traveling up her left ear. There's a steel ring in her right eyebrow, and another in her right nostril. There's also a little metal bead that marks another piercing, just below the left side of her lower lip, and she has a small barbell through her tongue.


Anna's a New York girl, born and raised in a prominent family linked to the Sicilian Mafia. For more info, FOIC by interacting with the character, or page me for sphere-specific info.

RP Hooks and Notes

Anna needs to make contact with the local Garou before she digs herself any deeper into trouble.

Note on Aura

If your character uses an aura-seeing ability (Auspex, Awareness, etc) to look at Anna's aura, please page me for the description.


Preferences: Style

Brace yourself.

I like good writing. Clear, eloquent, expressive writing. In a pinch I'll settle for clear and free of grammar and spelling mistakes, but that's pretty much my personal baseline for actually enjoying the RP.

Maybe I was a picky English teacher in another life, or something. Sorry.

Preferences: RP and intensity

In general, if it's IC and suits the ambience of the world, I'm up for it. That said: Anna is a toy that I like to play with. I put a lot of effort into my characters and I hope for them to live long and dramatic lives. I'd prefer for her not to die as the result of a die roll or someone's bad day or a random accident.

Anna's a thrill-seeker, though, and has a big mouth, and is fairly reckless. I expect she might make some people angry. I expect she'll get smacked down once in a while as a result.

Anything short of death is welcome, and I almost always prefer to play out scenes of violence rather than skim past them. The same goes for combat, TS, and torture, but if another player is uncomfortable with a particular subject OOC, I'm flexible and will be fine skipping things they find unpleasant. I'll also take whatever action is realistic for my character, and expect others to do the same (realizing that other people, too, would rather not see their PCs killed). I may sometimes be guilty of making the assumption that if someone chooses to play a character most people would call evil (child molester, sadistic pimp, torturer, etc), the player is probably open to someone ending that character's existence. But yes, this is the World of Darkness, not the World of Slightly Insufficient Light—and that means the "good guys" (or in this case antiheroes) don't always win. If there's any doubt about the above, or if you think "hey, Anna is doing something completely idiotic that is going to make my character have to kill her" … please, please page me and talk to me OOC! Feel free to give warnings, say, if you're a Garou or vampire fighting off Frenzy.

I'm not crazy about meta-posing—that's when someone puts lots of information in their poses that my character couldn't possibly know, see, hear, etc. I know a lot of people use this as a narrative style… it's just not one that I like, because while I'm playing I like to live inside my character's head, rather than look over the whole world and its events the way a filmmaker might. (I like being an actor, not a director.)

Example of meta-posing:
Chuck comes into the bar after a hellish day at work. He's thinking about his wife and kids. What dive this place is, but whatever, they have the liquor he needs. "Jim Beam, straight up," he says to the bartender. When it's set down in front of him he just looks at it for a while… should he drink? He really ought to go home…

(So, basically, I would rather find out that Chuck's in a crappy mood by reading that he stomps in, with a big scowl on his face that doesn't quite go with the despair in his eyes. Since my character isn't telepathic, I don't really have any need to know what he's thinking about—I'd rather try to guess what's on his mind than be told what he's thinking.)

There are also cases where people can (whether deliberately or not) metapose in a way that passes judgment on, makes claims about, or even directly insults another PC. That kind of metaposing will usually cause me to leave the scene, because it generally casts aspersions on a character in a way the player can't possibly respond to (because again, most PCs aren't telepathic.) For example:

Joe stared at the tall man and said, "Sure, sit yourself down." He didn't want to say it, because he knew something was wrong with Harry, deep down. He just couldn't bring himself to trust the other guy for some reason. There must be something wrong with Harry, he told himself yet again.

Hand-of-Gaia snorts at the Ragabash's dishonorable words. That girl's blatant breaking of the Litany was going to get her into trouble someday. "I accept your challenge," he says, staring her down. His bearing was noble, and he came from a long line of heroes, plus his rage was enough to make everyone around him back down instinctively. He refused to be insulted by this insolent little upstart.

I'm strongly in favor of IC and OOC separation. I refer to my character in the third person, usually, in pages and OOC conversations, in order to underline that *I*, the player, am not *Anna*, who is this fictional character I like to roleplay and imagine and write about. When people start identifying too strongly with their characters and talking about them as "I'm doing blah,", OOC drama tends to happen, especially when there's player-v-player conflict.

Photo shoot for deviantart, NYC 1995 (with ex-girlfriend)


Photo shoot: Retro in sepia, 1996