a wild application appears!
Player Information ;
Your Nickname: Roy
OOC Journal: royali
Under 18? Nein.
Email/IM: royalia at Hotmail dot com and/or vonnerdyce @ aim/plurk. I am reachable at all three. :3
Characters Played at Singularity: thom_293 and givesbackbombs - wait wrong canon I MEAN MASTER CHIEF...
Character Information ;
Name: Charles Francis Xavier. A poncier name did ne'er exist. (addendum: Benedict Cumberbatch, I STAND CORRECTED...)
Name of Canon: X-Men First Class.
Canon/AU/Other Game CR: Canon.
Reference: Wikipedia || Marvel Wikia
Canon Point: Just after Erik turns the satellite, prior to the Presidential Address. (Note: The Presidential Address delivered in the movie is actually different than the reality of the thing. SCORE ONE POINT FOR AU EARTH HISTORY F'YEAHH.)
Setting: Once upon a time, in a galaxy far, far away, there was a planet called Earth. Now, Earth is a celestial body approximately 4.54 billion years old, orbiting a G2V-class star that accounts for approximately 99.86 percent of the mass present in the solar sy-
... Okay let me try that again.
EARTH. Home of George W. Bush, Ghandi, Mother Teresa and the Spice Girls. It is on this pale blue dot that this next story takes place, more or less. Of course, there are some differences, the first and foremost being: MUTANTS, but for the most part the two are meant to be one and the same.
Mutation, of course, is defined by the alteration or reformation of cells. In the case of this particular universe, it often manifests in individuals as almost unbelievable powers, the sort of thing one might scoff at until one comes face to face with undeniable proof of its existence. Mutation, as it were, takes many forms - telekinesis, telepathy, governance over magnetic fields and absorbance of kinetic energy. Some can heal, some can harness the power of the sun. Mutation seems (and indeed is, to break the forth wall) limited only by the measure of human imagination.
The Earth of Marvel's X-Men continuity is meant to parallel the Earth we know so closely for the express purpose of making the stories hit home that much deeper. We are supposed to be able to look at the Pentagon, at the Statue of Liberty and go 'Oh, I get that!' The story of the X-Men may seem like it's about a motley flock of people who wander around in brightly coloured spandex dying all the time and coming back to life about as often, but at its core it's meant to be an allegory for the civil rights movements that humanity has been struggling with and against for the past several thousand years. A minority that's hated, feared, disliked, looked down upon, looking for acceptance in the world? Yeah, that's not familiar or anything.
On one hand of this movement you have Charles Xavier, who in his later years will become the beacon of benevolent tolerance. A man who would prefer peaceful cohabitation and equality for humans and mutants alike, and who canonically strives for this goal for well over half of his life.
On the other hand, in an iron glove, you have Erik Lensherr. Erik learned at a young age just what comes of being under the heel of men who would see you snuffed out there. Whereas Charles believes in equality and strives for that end, Erik believes that mutants are the superior genus and that their advent spells the end of humanity.
Needless to say, they clash a lot. But that time is not now.
'Now', or conversely, 'when X-Men First Class is set' is 1962. IT IS THE SUMMER OF OUR DISCOUNT VENT. Charles and Erik are not yet Professor X and Magneto, but a telepathic, skirt-chasing bloke with a professorial cant and a predilection towards using the word 'groovy' to get laid and a Nazi-hunting metal-bending mutant with rage issues and the superhuman ability to look good in turtlenecks.
First Class focuses primarily on laying the foundation for the Epic Bromance - to writ; we have an Ultimate First Meeting of Ultimate Destiny between the two men that involves Charles leaping into frigid ocean water to save Erik's life, a moment later on where they delve into the realm of Star Trek for a mind-meld that is resultant in many a Manly Tear, and the inevitable scene where their ideals are proven to be at incontrovertible odds. Charles believes that humanity is good and that it is the individual that performs evil acts whereas Erik believes that humanity is evil and that it is the individual who is only occasionally capable of kindness. And ne'er the twain shall meet.
The movie also sets the formative stage for Xavier's School for Gifted Youngsters, the world's first and foremost haven for those that find themselves outcasts by the accident of their own genetics. But, just as Erik and Charles are equal and opposite to one another, counterbalancing forces on both sides of the giant chessboard of life, so too would it be a crime to mention Xavier's school without also mentioning the Brotherhood, the organization of mutants who by action and ideal oppose Charles' more peaceful ideology.
The Hellfire Club also bears some mention. Headed at this time by Sebastian Shaw, it's a group of mutants who are working to bring about the End Of Humanity As We Know It. They are the main oppositional force in the movie and, being a bunch of swankily dressed bad guys, it is their primary goal to faff about nefariously and cause problems for the Intrepid Heroes, namely Charles, Erik, and their little band.
In summary: Earth with Mutants who eponymously embody every civil rights struggle that's ever existed, and also Charles Xavier and Erik Lensherr are bitter divorcees who engage in constant custody battles over the mutant babbies of the world. Oh, and Kevin Bacon is the final boss.
Personality: The core of Charles's personality is and always will be the matter of privilege. Which isn't to imply that his childhood was inherently privileged in any area beyond the material. In fact, the movie implies that his formative years were rather cold and loveless and never does or says anything to disavow this implication. Neither his mother nor the step-father he is referenced to have ever make a true 'appearance' in the movie, and the only instance of his mother being physically on the screen is a moment where she's being impersonated by Raven. What gives her away is not gross misstep of etiquette but the simple fact that she's nice - too nice, and in no way is this nicety in line with what Charles' knows of his mother.
One of the overarching themes of X-Men First Class is that these people, each different in their own ways, are finding each other in the darkness. The instant Charles realizes who - though what is perhaps the more appropriate word - Raven is, his acceptance of her is immediate. He was so completely lonely that knowing no more of her than she at that moment knew of him, he was willing to share everything he had with her.
So, right there, we can infer several points about his personality. The fact that he is expressly willing to take liberties with his abilities, and the fact that the lonely nature of his existence - being a telepath is no doubt a troubling business, especially since it was implied that he came into his powers very young - lead him to make what could have been a potentially disastrous decision - taking in a random stranger, horray.
Even when he's older, Charles is shown to be a creature of impulse, action/reaction rather than the studied contemplation of his older and inarguably wiser self, the Professor X of popular culture. Make no mistake, Charles is smart - very smart, as his Oxford GPA would no doubt boast - but at the period in his life that X-Men First Class covers, he is also very reckless. Diving into the ocean after an angry metal-bending mutant is honestly on par for 'potentially terrible decisions' with spontaneously adopting a total stranger.
But that's the point of Charles. He is optimistic, idealistic, excitable and frankly, a little naïve. He's at a stage in his life where everything is bright and shiny and new, he's never known any particular hardship and has spent most of his life having everything handed to him on a silver platter. He doesn't seem capable of comprehending a situation going badly. His life is replete with pretty college co-eds and the world is entirely his oyster.
As a result, he's also profligate, undisciplined, and on more than one occasion a complete hypocrite. Note, the passage from his thesis that he recites in the beginning of the movie,
‘To Homo neanderthalensis, his mutant cousin Homo sapien was an aberration. Peaceful cohabitation, if ever it existed, was short-lived. Records show without exception that the arrival of the mutated human species in any region was followed by the immediate extinction of their less evolved kin.
Quite plainly, he expresses by allegory the very real and tangible unlikelihood of humanity ever being to accept mutants as a natural and normal evolutionary process, but he maintains the belief throughout the movie that if humanity would only see them as heroes rather than horrific aberrations, they will overcome their natural impulse to rally against their own extinction and embrace their mutant brethren.
Pipe dream, thy name is.
He's also shown to have something of a God complex, as stemming from his telepathy. Because he has access to people's deepest, darkest, innermost thoughts, he tends to steamroll right over their right to personal privacy if it suits his whimsy. He uses his powers with the kind of unethical abandon that one would expect of a tyrant or dictator rather than a servant of the people. He's also somewhat arrogant in this regard - he believes he has an unparalleled understanding of human nature solely because he's never met anyone who could hide anything from him. He obviously doesn't believe in using his powers to harm - the few instances in the movie where he could have done so, he chose to act otherwise - but he undeniably walks a fine line in the realm of moral grayscale. He fishes around in people's heads as almost a reflex, discerning their favourite drinks, their names, their thoughts as relative to apple pecan pie, using his telepathy as more of a cheap parlour trick than the weapon it could be in another's hands.
Of course, therein lies the question - is it right for him to do these things at all? If Charles were really as moral as he preached, he would afford people their privacies, their autonomy, and not strip it from them wholesale when it seems a convenient thing.
Now, a word on character development. To say that Charles remains a static presence over the course of the movie would be to tell a bold-faced lie. For all the irresponsible naivety he starts out with, he does show signs of growing out of it as the story unfolds. He's guided in this regard not only by his acquaintance with Erik, who's life he can hardly deny as being horrid, but also by the events as they transpire. He's seeing first-hand rather than via his telepathy what atrocities mutants are capable of visiting not only on each other, but also on humanity. Some of the bloom is coming off the rose, as it were.
That hardly means that Charles is going to turn around, disavow all his former ideals and take up arms with Erik - in fact, the climax of the movie is exactly opposite. If anything, what Charles goes through seems to strengthen his resolve, his idea that he is on the proper path.
But only time, as they say, will tell.
Abilities, Weaknesses, and Power Limitation Suggestions: Firstly, Charles is a telepath, with all the abilities and implications that entails. On top of being able to step into someone's mind and upend all their thoughts like a child with a toybox, he's shown to be capable of planting suggestions, mentally halting 'time' for them, and controlling their very senses to 'cloak' his presence, not to mention the fact that he can take over other people's bodies. In Marvel canon, Charles is one of only a few 'Omega' level telepaths, that is to say 'with limitless potential'.
Of course, Charles in First Class has nowhere near the precision and control of his older counterpart. Charles at this stage is powerful, yes, but not overwhelmingly so.
Charles' telepathy, naturally, is limited to whatever zone he's in at the time. And his other compulsions - mental suggestion, et al - will be much more difficult for him to use, and the success of these abilities will be more or less contingent on the willpower of the person he's trying to exert them on.
Of course, mun permission will be ferreted out any time Charles resorts to mental voodoo. IT'S THE NEIGHBORLY THING TO DO...
Inventory: (1) groovy sixties lack of fashion sense. Probably his wallet and a collection of identification cards relative to the time period.
Appearance: Charles Xavier is played by James McAvoy and so looks rather like this.
Age: 30. (Born in 1932) A note: the movie seems a little unclear about it, seeing as how it gives Charles' age in the credits as 24, but during the first set of flashbacks with Erik and Charles as babbies, the date is given as being 44, and Charles as being twelve, so for the dates and his age to correspond, he would have had to be 30 at the time of the Cuban Missile Crisis.
OC/AU Justification ;
If AU, How is Your Version Different From Canon, and How Will That Come Across?
If OC, Did You Run Your Character Through a Mary-Sue Litmus Test?
And What Did You Score?
Samples ;
Log Sample:
He'd read the book so many times that it fell open to his favourite passages without prompting. It still retained its elegance, bound in black cloth and decorated with stark white heraldic designs, and the word drifted through his mind like a sort of imprecation, priceless, but he'd never treated it with due reverence. It was no doubt one of those things that outlined the opulence of his life far and above any words he could ever speak on the matter, the careless handling of something that if sold in its pristine condition could fetch a monetary windfall for a frugal man to live above his means for years.
But what good could come of keeping books under glass, where no knowledge could be gleaned from their pages, where the voices of debate and discussion were made redundant with the deafness of ignorance?
No, thank you. He would read his book the way it was intended. And when its pages ripped, and its spine broke and came apart in his hands, he'd buy another and love that one just as well.
"Ugh, T. H. White again?" Raven, her hair back to being lovely and blonde, rolled her eyes as he flipped the book open, as if to perish the very thought.
"There's a reason we call them 'favourites', dear," he said absently, leaning back, one arm propped against the back of the chair he was half-sprawled in. Raven made a face at him; the one he'd decided meant she thought him unforgivably old and stuffy. He had two natural habitats, libraries and bars. When he was not in one he tended towards the other, but the latter was the province of the young and hip and groovy, and he could hardly deny its lure.
"And let me guess. It's the same reason you've worn that particular tweed jacket for the last four days?"
"What? I have no-" he sat up, indignant, and glanced downward to have grounds on which to refute her claim. Except. No. There was no defense against the truth.
"Look at it this way," she said cheerfully, coming over to his chair to ruffle his hair with all the impunity she could muster as she surveyed the bookshelves behind him. "You've already got the 'absent-minded' part of your, mm, impending professorial career down, huh? But, uh, take it from someone who loves you. Tweed? Not your colour."
"It's a perfectly acceptable-"
"Charles," she said exasperatedly. "Tweed isn't anyone's colour. And it should be illegal." She set her hand on a book, Alice in Wonderland, and pulled it from the shelf after a moment's contemplation.
Charles looked at her a moment, stymied. Inspiration struck bare seconds later, and he cleared his throat, flipped to the proper part in the book and started to read.
"'What is the matter now?' he enquired nastily. His inspection had shown him that his pupil was trying not to cry, and if he spoke in a kind voice he would break down and do it.'"
"Oh, this is your revenge, is it?" Raven interrupted, mock-grimacing. "All right, all right. Point taken, Professor. Enjoy your stuffy old book." She grinned at him, tucked her own under her arm and left his company like a queen, her head held high and the weight of the world conspicuously absent from her step.
He managed thirty seconds of serenity, starting with Wart's misadventures as a perch, and then he closed the book with an audible thump. "Raven! Get dressed, we're going out."
She popped back around the door with nary a pause, her grin every bit as broad as that Cheshire Cat fellow that sauntered, timeless, across the pages of the book she had tucked to her chest. "I knew you'd say that."
Network Sample:
[Oh, the perks of being a telepath: gleaning information from the minds around him. It's in this manner that Charles determines the exact purpose of the device he'd been assigned, and it is to that purpose that he now turns it on.
THIS IS SO GROOVY he can't even. Excuse the slightly giddy edge to his manner. This is like Cerebro all over again.]
Ah - yes, excellent. Now that I've established that I've not been mysteriously absconded into an Asimov novel, it's only proper that I introduce myself to the good people in this place. I am Charles Xavier, late of Earth, specifically of Westchester County, and it is a pleasure to meet each of you.
[... The juxtaposition with CLEARLY THRILLED AT BEING IN SPACE versus AWKWARD PROFESSONIAL MANNER is sort of self-evident, here. Hi.]
I-well, that'll be it, then. Thank you all for your time.
[OH GOD HOW DOES HE OFF-welp.]
Your Nickname: Roy
OOC Journal: royali
Under 18? Nein.
Email/IM: royalia at Hotmail dot com and/or vonnerdyce @ aim/plurk. I am reachable at all three. :3
Characters Played at Singularity: thom_293 and givesbackbombs - wait wrong canon I MEAN MASTER CHIEF...
Character Information ;
Name: Charles Francis Xavier. A poncier name did ne'er exist. (addendum: Benedict Cumberbatch, I STAND CORRECTED...)
Name of Canon: X-Men First Class.
Canon/AU/Other Game CR: Canon.
Reference: Wikipedia || Marvel Wikia
Canon Point: Just after Erik turns the satellite, prior to the Presidential Address. (Note: The Presidential Address delivered in the movie is actually different than the reality of the thing. SCORE ONE POINT FOR AU EARTH HISTORY F'YEAHH.)
Setting: Once upon a time, in a galaxy far, far away, there was a planet called Earth. Now, Earth is a celestial body approximately 4.54 billion years old, orbiting a G2V-class star that accounts for approximately 99.86 percent of the mass present in the solar sy-
... Okay let me try that again.
EARTH. Home of George W. Bush, Ghandi, Mother Teresa and the Spice Girls. It is on this pale blue dot that this next story takes place, more or less. Of course, there are some differences, the first and foremost being: MUTANTS, but for the most part the two are meant to be one and the same.
Mutation, of course, is defined by the alteration or reformation of cells. In the case of this particular universe, it often manifests in individuals as almost unbelievable powers, the sort of thing one might scoff at until one comes face to face with undeniable proof of its existence. Mutation, as it were, takes many forms - telekinesis, telepathy, governance over magnetic fields and absorbance of kinetic energy. Some can heal, some can harness the power of the sun. Mutation seems (and indeed is, to break the forth wall) limited only by the measure of human imagination.
The Earth of Marvel's X-Men continuity is meant to parallel the Earth we know so closely for the express purpose of making the stories hit home that much deeper. We are supposed to be able to look at the Pentagon, at the Statue of Liberty and go 'Oh, I get that!' The story of the X-Men may seem like it's about a motley flock of people who wander around in brightly coloured spandex dying all the time and coming back to life about as often, but at its core it's meant to be an allegory for the civil rights movements that humanity has been struggling with and against for the past several thousand years. A minority that's hated, feared, disliked, looked down upon, looking for acceptance in the world? Yeah, that's not familiar or anything.
On one hand of this movement you have Charles Xavier, who in his later years will become the beacon of benevolent tolerance. A man who would prefer peaceful cohabitation and equality for humans and mutants alike, and who canonically strives for this goal for well over half of his life.
On the other hand, in an iron glove, you have Erik Lensherr. Erik learned at a young age just what comes of being under the heel of men who would see you snuffed out there. Whereas Charles believes in equality and strives for that end, Erik believes that mutants are the superior genus and that their advent spells the end of humanity.
Needless to say, they clash a lot. But that time is not now.
'Now', or conversely, 'when X-Men First Class is set' is 1962. IT IS THE SUMMER OF OUR DISCOUNT VENT. Charles and Erik are not yet Professor X and Magneto, but a telepathic, skirt-chasing bloke with a professorial cant and a predilection towards using the word 'groovy' to get laid and a Nazi-hunting metal-bending mutant with rage issues and the superhuman ability to look good in turtlenecks.
First Class focuses primarily on laying the foundation for the Epic Bromance - to writ; we have an Ultimate First Meeting of Ultimate Destiny between the two men that involves Charles leaping into frigid ocean water to save Erik's life, a moment later on where they delve into the realm of Star Trek for a mind-meld that is resultant in many a Manly Tear, and the inevitable scene where their ideals are proven to be at incontrovertible odds. Charles believes that humanity is good and that it is the individual that performs evil acts whereas Erik believes that humanity is evil and that it is the individual who is only occasionally capable of kindness. And ne'er the twain shall meet.
The movie also sets the formative stage for Xavier's School for Gifted Youngsters, the world's first and foremost haven for those that find themselves outcasts by the accident of their own genetics. But, just as Erik and Charles are equal and opposite to one another, counterbalancing forces on both sides of the giant chessboard of life, so too would it be a crime to mention Xavier's school without also mentioning the Brotherhood, the organization of mutants who by action and ideal oppose Charles' more peaceful ideology.
The Hellfire Club also bears some mention. Headed at this time by Sebastian Shaw, it's a group of mutants who are working to bring about the End Of Humanity As We Know It. They are the main oppositional force in the movie and, being a bunch of swankily dressed bad guys, it is their primary goal to faff about nefariously and cause problems for the Intrepid Heroes, namely Charles, Erik, and their little band.
In summary: Earth with Mutants who eponymously embody every civil rights struggle that's ever existed, and also Charles Xavier and Erik Lensherr are bitter divorcees who engage in constant custody battles over the mutant babbies of the world. Oh, and Kevin Bacon is the final boss.
Personality: The core of Charles's personality is and always will be the matter of privilege. Which isn't to imply that his childhood was inherently privileged in any area beyond the material. In fact, the movie implies that his formative years were rather cold and loveless and never does or says anything to disavow this implication. Neither his mother nor the step-father he is referenced to have ever make a true 'appearance' in the movie, and the only instance of his mother being physically on the screen is a moment where she's being impersonated by Raven. What gives her away is not gross misstep of etiquette but the simple fact that she's nice - too nice, and in no way is this nicety in line with what Charles' knows of his mother.
One of the overarching themes of X-Men First Class is that these people, each different in their own ways, are finding each other in the darkness. The instant Charles realizes who - though what is perhaps the more appropriate word - Raven is, his acceptance of her is immediate. He was so completely lonely that knowing no more of her than she at that moment knew of him, he was willing to share everything he had with her.
So, right there, we can infer several points about his personality. The fact that he is expressly willing to take liberties with his abilities, and the fact that the lonely nature of his existence - being a telepath is no doubt a troubling business, especially since it was implied that he came into his powers very young - lead him to make what could have been a potentially disastrous decision - taking in a random stranger, horray.
Even when he's older, Charles is shown to be a creature of impulse, action/reaction rather than the studied contemplation of his older and inarguably wiser self, the Professor X of popular culture. Make no mistake, Charles is smart - very smart, as his Oxford GPA would no doubt boast - but at the period in his life that X-Men First Class covers, he is also very reckless. Diving into the ocean after an angry metal-bending mutant is honestly on par for 'potentially terrible decisions' with spontaneously adopting a total stranger.
But that's the point of Charles. He is optimistic, idealistic, excitable and frankly, a little naïve. He's at a stage in his life where everything is bright and shiny and new, he's never known any particular hardship and has spent most of his life having everything handed to him on a silver platter. He doesn't seem capable of comprehending a situation going badly. His life is replete with pretty college co-eds and the world is entirely his oyster.
As a result, he's also profligate, undisciplined, and on more than one occasion a complete hypocrite. Note, the passage from his thesis that he recites in the beginning of the movie,
‘To Homo neanderthalensis, his mutant cousin Homo sapien was an aberration. Peaceful cohabitation, if ever it existed, was short-lived. Records show without exception that the arrival of the mutated human species in any region was followed by the immediate extinction of their less evolved kin.
Quite plainly, he expresses by allegory the very real and tangible unlikelihood of humanity ever being to accept mutants as a natural and normal evolutionary process, but he maintains the belief throughout the movie that if humanity would only see them as heroes rather than horrific aberrations, they will overcome their natural impulse to rally against their own extinction and embrace their mutant brethren.
Pipe dream, thy name is.
He's also shown to have something of a God complex, as stemming from his telepathy. Because he has access to people's deepest, darkest, innermost thoughts, he tends to steamroll right over their right to personal privacy if it suits his whimsy. He uses his powers with the kind of unethical abandon that one would expect of a tyrant or dictator rather than a servant of the people. He's also somewhat arrogant in this regard - he believes he has an unparalleled understanding of human nature solely because he's never met anyone who could hide anything from him. He obviously doesn't believe in using his powers to harm - the few instances in the movie where he could have done so, he chose to act otherwise - but he undeniably walks a fine line in the realm of moral grayscale. He fishes around in people's heads as almost a reflex, discerning their favourite drinks, their names, their thoughts as relative to apple pecan pie, using his telepathy as more of a cheap parlour trick than the weapon it could be in another's hands.
Of course, therein lies the question - is it right for him to do these things at all? If Charles were really as moral as he preached, he would afford people their privacies, their autonomy, and not strip it from them wholesale when it seems a convenient thing.
Now, a word on character development. To say that Charles remains a static presence over the course of the movie would be to tell a bold-faced lie. For all the irresponsible naivety he starts out with, he does show signs of growing out of it as the story unfolds. He's guided in this regard not only by his acquaintance with Erik, who's life he can hardly deny as being horrid, but also by the events as they transpire. He's seeing first-hand rather than via his telepathy what atrocities mutants are capable of visiting not only on each other, but also on humanity. Some of the bloom is coming off the rose, as it were.
That hardly means that Charles is going to turn around, disavow all his former ideals and take up arms with Erik - in fact, the climax of the movie is exactly opposite. If anything, what Charles goes through seems to strengthen his resolve, his idea that he is on the proper path.
But only time, as they say, will tell.
Abilities, Weaknesses, and Power Limitation Suggestions: Firstly, Charles is a telepath, with all the abilities and implications that entails. On top of being able to step into someone's mind and upend all their thoughts like a child with a toybox, he's shown to be capable of planting suggestions, mentally halting 'time' for them, and controlling their very senses to 'cloak' his presence, not to mention the fact that he can take over other people's bodies. In Marvel canon, Charles is one of only a few 'Omega' level telepaths, that is to say 'with limitless potential'.
Of course, Charles in First Class has nowhere near the precision and control of his older counterpart. Charles at this stage is powerful, yes, but not overwhelmingly so.
Charles' telepathy, naturally, is limited to whatever zone he's in at the time. And his other compulsions - mental suggestion, et al - will be much more difficult for him to use, and the success of these abilities will be more or less contingent on the willpower of the person he's trying to exert them on.
Of course, mun permission will be ferreted out any time Charles resorts to mental voodoo. IT'S THE NEIGHBORLY THING TO DO...
Inventory: (1) groovy sixties lack of fashion sense. Probably his wallet and a collection of identification cards relative to the time period.
Appearance: Charles Xavier is played by James McAvoy and so looks rather like this.
Age: 30. (Born in 1932) A note: the movie seems a little unclear about it, seeing as how it gives Charles' age in the credits as 24, but during the first set of flashbacks with Erik and Charles as babbies, the date is given as being 44, and Charles as being twelve, so for the dates and his age to correspond, he would have had to be 30 at the time of the Cuban Missile Crisis.
OC/AU Justification ;
If AU, How is Your Version Different From Canon, and How Will That Come Across?
If OC, Did You Run Your Character Through a Mary-Sue Litmus Test?
And What Did You Score?
Samples ;
Log Sample:
He'd read the book so many times that it fell open to his favourite passages without prompting. It still retained its elegance, bound in black cloth and decorated with stark white heraldic designs, and the word drifted through his mind like a sort of imprecation, priceless, but he'd never treated it with due reverence. It was no doubt one of those things that outlined the opulence of his life far and above any words he could ever speak on the matter, the careless handling of something that if sold in its pristine condition could fetch a monetary windfall for a frugal man to live above his means for years.
But what good could come of keeping books under glass, where no knowledge could be gleaned from their pages, where the voices of debate and discussion were made redundant with the deafness of ignorance?
No, thank you. He would read his book the way it was intended. And when its pages ripped, and its spine broke and came apart in his hands, he'd buy another and love that one just as well.
"Ugh, T. H. White again?" Raven, her hair back to being lovely and blonde, rolled her eyes as he flipped the book open, as if to perish the very thought.
"There's a reason we call them 'favourites', dear," he said absently, leaning back, one arm propped against the back of the chair he was half-sprawled in. Raven made a face at him; the one he'd decided meant she thought him unforgivably old and stuffy. He had two natural habitats, libraries and bars. When he was not in one he tended towards the other, but the latter was the province of the young and hip and groovy, and he could hardly deny its lure.
"And let me guess. It's the same reason you've worn that particular tweed jacket for the last four days?"
"What? I have no-" he sat up, indignant, and glanced downward to have grounds on which to refute her claim. Except. No. There was no defense against the truth.
"Look at it this way," she said cheerfully, coming over to his chair to ruffle his hair with all the impunity she could muster as she surveyed the bookshelves behind him. "You've already got the 'absent-minded' part of your, mm, impending professorial career down, huh? But, uh, take it from someone who loves you. Tweed? Not your colour."
"It's a perfectly acceptable-"
"Charles," she said exasperatedly. "Tweed isn't anyone's colour. And it should be illegal." She set her hand on a book, Alice in Wonderland, and pulled it from the shelf after a moment's contemplation.
Charles looked at her a moment, stymied. Inspiration struck bare seconds later, and he cleared his throat, flipped to the proper part in the book and started to read.
"'What is the matter now?' he enquired nastily. His inspection had shown him that his pupil was trying not to cry, and if he spoke in a kind voice he would break down and do it.'"
"Oh, this is your revenge, is it?" Raven interrupted, mock-grimacing. "All right, all right. Point taken, Professor. Enjoy your stuffy old book." She grinned at him, tucked her own under her arm and left his company like a queen, her head held high and the weight of the world conspicuously absent from her step.
He managed thirty seconds of serenity, starting with Wart's misadventures as a perch, and then he closed the book with an audible thump. "Raven! Get dressed, we're going out."
She popped back around the door with nary a pause, her grin every bit as broad as that Cheshire Cat fellow that sauntered, timeless, across the pages of the book she had tucked to her chest. "I knew you'd say that."
Network Sample:
[Oh, the perks of being a telepath: gleaning information from the minds around him. It's in this manner that Charles determines the exact purpose of the device he'd been assigned, and it is to that purpose that he now turns it on.
THIS IS SO GROOVY he can't even. Excuse the slightly giddy edge to his manner. This is like Cerebro all over again.]
Ah - yes, excellent. Now that I've established that I've not been mysteriously absconded into an Asimov novel, it's only proper that I introduce myself to the good people in this place. I am Charles Xavier, late of Earth, specifically of Westchester County, and it is a pleasure to meet each of you.
[... The juxtaposition with CLEARLY THRILLED AT BEING IN SPACE versus AWKWARD PROFESSONIAL MANNER is sort of self-evident, here. Hi.]
I-well, that'll be it, then. Thank you all for your time.
[OH GOD HOW DOES HE OFF-welp.]