#luca honestly invented acting
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Okay so:
Emil: towards others it's Words of affirmation and Gift giving (he likes making small things for people! And he's generally pretty open about his feelings (which is usually love towards people)). For himself it's definitely physical touch. (He feels safe and loved when he's held and he's also definitely touchstarved too.)
Andrew: Towards others it's minorly quality time (although it usually has to be initiated by someone else, he loves spending time with people!!) and MAJORLY acts of service. (His whole servant-like demeanour thing really shines through here. If there's something you even hint you want done and it's clear you're not against him doing it, he's running to do it as soon as it's mentioned.) Towards himself it's also likely acts of service as well as words of affirmation. (He'd adore you forever if you did something for him, and he really likes praise even if he doesn't quite show it because he likes knowing he's doing a good job!)
Luca: Towards others it's Gifts and touch. (He loves making, why not make for others! And he's generally pretty touchy in general. It's just kind of a habit of his, but he does feel more confident in his hands than his brain.) For himself it's definitely acts of service. (He's not the best at you know... The whole living outside of prison thing. It's really sweet to him if you choose to check up on him and help him with certain things!) Also situationally words of affirmation can be great for him. (He dislikes/brushes off praise a lot because it just reminds him of what he could have been, but words of love towards him, not his invention skills, can move him to tears I think. It's nice to feel loved again after so long.)
Norton: Towards others it's quality time and gifts. (He's always got a listening ear if you need it and he'll try to help as best as he can. He's also not very good at actually showing love, so gifts are a pretty good way to get the message across in his experience.) Directed at himself he... doesn't really have much of a preference, honestly, but gifts are always neat. He likes Stuff.
Frederick: towards others are Gifts for the same reason as Norton, and acts of service. (He's never really had someone to do things for him, and while he doesn't really want that now, he understands that it can be a huge help to people. Especially if you're struggling, like most of his friends are.) Towards himself quality time and touch are probably the best. (They feel the least transactional. While he'd be a bit confused as to what the hell you were doing if you started giving him affection, he wouldn't really mind. And being with him for him is really important because he feels like less of a Kreiburg and more... just Frederick. For that reason he very much dislikes words of affirmation except for specific contexts.)
Orpheus: for others it's Words of affirmation and Gift giving. (Oh you bet this man has words for you, even if they may sometimes only be written ones. It goes hand in hand with the gifts, honestly. He sends so many letters that Victor once started checking in with him to ask if he had letters to send, much to his embarrassment.). For himself he likes touch. (He hasn't really been able to do that with people before. So it fascinates him. He likes seeing people as ideas and stories, even if he unintentionally forgets they're their own humans with thoughts and feelings sometimes.)
Victor: For others it's habitually acts of service. (He hasn't really had relationships with people other than The Mailman or having a gun pointed at his head by the mob. Doing things for people is kind of the only thing he knows how to do. For the same reason gifts could also apply.) For himself he loves gifts back!! Especially if they're enclosed within letters! (Just maybe don't mail things to him in suspicious packaging. He's been traumatised before by packages that turned out to contain... Bad things.) (He also notably dislikes quality time if he's alone with someone. If it's a group and the focus is spread throughout that's fine.)
i did not get a moment to see this until now (science lecture :() but THIS!!! core character concepts. i will consume them. (guarenteed masterlist post)
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it’s so funny how the whole summer in s3, mike is like, shitting on D&D and saying they aren’t kids anymore; and then the second he sees will drop his D&D in the donation box, he is suddenly cares about D&D; and I feel like in that moment, Will knows that Mike still cares and that he was just being a Dumbass that past summer, and it’s sort of like, caught you moment for will. haha. like I seriously think he was ready to just let go of it all… like he wasn’t aware that like actually still wanted to play until this moment but he knows it due to mike pointing it out, but he still feels self-conscious about it because of how mike acted, but then mike asking what if you want to join another party? really proves to him that mike is just a dumbass, trying to look cool around el, so it’s just like - was probably such a fucking relief, but also like smugness and we see that smugness because while will was emotional over it, he was so over mikes behavior because he was just being such a dumb ass but his original instincts were right that mike still enjoyed all the things will did. so idk. I don’t think will ever had intentions on playing with anyone else again and I think this was unexpected confirmation that mike was still there; just a dumb ass, but I really think the whole summer he just wanted quality time with mike, and honestly, will seems okay with going more towards art as his interest (like mike is way more of a nerd than he is, fight me) like will loves D&D but it hurt him more to lose mike and that’s what mattered to him most, but this is will being like, don’t worry, i will always want to play with you like it really seems like mike is just more interested in it which is just hilarious since he rly tried so hard to not be in s3 but then is in a D&D club in s4, accepting of his interest; and sooo annoyed with lucas, way more than dustin 😂😂😂 like truly, mike is the biggest nerd of them all in terms of fantasy, no one can tell me otherwise. like dustin likes inventions and shit, lucas likes basketball (apparently), and will likes art/music but truly what are mikes other attributes than just being a huge nerd? like it’s honestly just … incredible and sad because he rly does not accept himself for being a nerd(&queer), it’s quite obvious
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I sometimes reflect on what Star Wars was, in Lucas’ concept, in the early days, before the industry of success got ahold of it, and I sometimes can’t stop thinking about the tiny glimpses we get of what could have been.
Like I’m very confident that the stuff in the Leonard Maltin interview about “I have twelve movies planned” is all bullshit (maybe he had several drafts of ways the story could have gone, but there was no grand plan beyond the one film in 1977). And I’m also very confident that Darth Vader was just the scary, mostly soulless, dark knight that guarded the castle where the princess was being held. That Obi Wan was not obfuscating the truth when he explained that Darth had been a Jedi who had turned and killed Luke’s real, normal, blandly heroic father.
And don’t get me wrong, once the box office came in, and a sequel was inevitable, it’s super smart to decide to get into what the deal with Vader really is. And it’s inspired to make that evil monster the actual person that Luke so desperately wants to meet—nay, become. Leading a protag up to a door they’ve been desperately wanting to their entire lives and then opening that door to reveal the worst possible nightmare they could see... that’s just good storytelling, friends! (Which is why is was so smart to have Rey’s parents be nobodies, but I digress.)
Still, there’s something magical about that early, untouched moment, when the Star Wars universe could be a million different things, and I honestly think Lucas was still intending to make it a kind of mildly dark universe, with some touches dystopia in it. I think the Clone Wars was originally a much cooler, nigh apocalyptic conflict, where illegal and horrifying cloning technology had been invented and no one could tell if you were you or a clone of you. You never knew if you were fighting beside brother or secret replacement spy and the very privilege of individuality was under threat.
Heck, maybe the rise of the Empire was due to society being on the precipice of hellish chaos. The public was scared shitless, and an authoritarian regime with the power to actually prevent the threat had a certain “lesser of two evils” appeal.
Lucas had just completed THX 1138, so it’s not much of a leap to think his mind was still in that zone a little bit, and while Star Wars was more of a rollicking adventure, it’s a very rich world that can have swashbuckling adventure in the foreground but hints of bleakness in the deep background.
Anyway, I’ve been thinking about the extremely weird and inconsistent way the franchise has treated droids and droid ownership over the years and it occurred to me that this moment in the beginning of the Cantina scene really stood out.
For the rest of this movie, droids are helpers. Tools. Some have the idea that maybe they could be more, but that’s considered silly, since that’s obviously just a byproduct of their programmed behaviors. They act sort of like people, so they sometimes forget they aren’t actually capable of being people. I imagine there being a scene where Han could have said “Fine, C-3PO, you be in charge. What would you have us all do?” and 3PO just stares in silence, completely unprepared, and indeed unable, to live as an organic, sapient being; making choices beyond the simple behaviors installed into them at the factory.
I can completely understand that this way of depicting them is also pretty troubling, but it’s a lot more understandable (and honestly realistic) than the way the franchise has it, where they very clearly are sentient / sapient, and there is no way something like a restraining bolt ISN’T slavery.
Going back to the surly Cantina bartender, if droids *are* just tools, why does he care if they’re there? You could posit a number of things (and I’m sure many have, and good on them): maybe droids are known to be listening devices, and he wants to protect the lovely little hive of scum and villainy he’s fostered. Maybe droids are clumsy (they are) and he’s sick of them stepping on his patrons’ squishy alien feet or knocking over drinks.
Maybe the fact that droids can easily pick out every word of every conversation at the same time results, not in spooky spying, but in the droid being unable to help themselves from butting into any conversation they feel they could add some value. Greedo’s just finishing his many uses of the classic phrase “mclunky” when R2 beeps and whirs that “mclunky” is actually a malapropism based on a mis-translation of a rhodian phrase that technically means the opposite of how it’s commonly used today. Droids are super smart but also completely dumb, so of course they’d “um actually” without warning.
Or maybe the grumpy bartender has an anti-droid rule because modern technology has just gotten too ubiquitous and this old hipster misses the days when people were actually present, instead of always on their phones—I mean, uh, droids.
But all of these are logical reasons. Story reasons. And I’ve become weary of such technicalities. Maybe as I’ve gotten older (read: old) I’ve become much more interested in the logic of character behavior. The response feels emotional, and it’s immediate.
To me, his reaction reads as fear. As if droids represent a real threat. I wonder if the specter of the Clone Wars still lingers in a lot of people’s memories and the idea of creatures that act like trustworthy people but are in fact made by a corporation with their own goals and agenda is too much to bear. What if the clones were originally created as a way to replace labor or monotonous tasks (think Calvin and his duplication machine). When most normal people were horrified at this use of biological beings, droids were created to do all the things people didn’t want to. So to many, droids are just metallic clones. Like the uncanny valley (where most of the effects in the prequels live) come to life.
Or with the recent ever-presence of the Empire, maybe droids just feel too close to storm troopers and, more generally, the machinery of fascism. There’s rumors that storm troopers actually are droids. That’s how there’s so many. This bartender just wants his little cantina to be a respite from the slow rot of the once-simple world outside.
It’s also striking that no one else is taken aback by the quickness and firmness of him laying down the law in his bar. This is a no droids establishment, and that’s apparently not an uncommon sentiment.
And while there’s a whole other essay about how that’s truly the first instance of the franchise having a super yikesey way of approaching the droids’ rights issue, I can’t help but feel there’s a darker element that Lucas was toying with, but ended up dropping when it became clear that Star Wars meant a lot of money from kids and their families, and hinting at darkness in your universe is the enemy of money.
Okay thanks bye.
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omg you watched oth ? I love that, please tell me all your favourite characters, plots, anything - I miss it 😭
Anon you sweet sweet beautiful soul thank you so much for asking I am about to become unbearable,
Top 5 Favourite characters:
Brooke Penelope Davis - The light of my life, my first true love, the woman I have aspired to be my entire life, she is my joker. Her entire storyline from the whole peyton/Lucas/Brooke triangle I was always and forever on her side, she was a class act, she always knew her worth and in being happy for her best friend and ex boyfriend she remains the classiest and most humble woman in TV history and no one deserves the happy ending she got with Julian and the twins, more than she does, and she invented girl bossing, she was a millionaire business owner before she was even 25 and she did it all herself. Female excellence.
Haley James Scott - the first mother to ever mother, she can honestly do no wrong in my eyes, tutor girl should’ve ruled the world (the only reason she’s not number 1 is because of the disaster that was season 2/Chris Keller debacle but we don’t like to talk about that) but yes Haley James Scott the woman that you are 🧎♀️
Quentin Fields - to this day I have never gotten over him, he had such a short time on the show and he made the biggest impact, his relationship with Jamie and the way things ended omg I’m tearing up even writing this but I miss him sm his character was one of the greats
Mouth McFadden - he is my sweetheart, i would burn the entire world for him, he is just the most wholesome character I’ve ever known and he just means everything to me
Skills - he was a ride or die kind of person and there isn’t a single scene he didn’t own, I love his character
(Special mention to Chris Keller cause his character in the later seasons was just 👏🏼👏🏼 he was hilarious and I miss him)
Favourite plot lines
Okay so I love the intense story lines sm and I enjoy the angst more than what is considered healthy so:
Dan and Keith - I’m such a sucker for siblings and this storyline, I still think it’s one of the greatest and devastating moments in TV History, the relationships with Karen and Lucas and the way Dan changed after season 9 and how he repented about what he’d done, and Keith 😭 I have never cried as hard as I did that day (you know what day I’m talking about anon babe you know.) The intensity and angst of this storyline and the way it ended, yeah it’s always going to be my favourite
Nannie Carrie - omg 9 year old me was terrified of this woman, the whole kidnapping plot, the chase scene, Haley kicking her ass every time it was immaculate -
Clay and Logan - I never saw it coming is the thing, I always just thought the relationship was so adorable at the start and then what it was revealed who he actually was 😧 it was a moment, and the relationship between Logan, Clay and Quinn afterwards 😭😭 it was so sweet I could die honestly.
Dan’s entire redemption ark - I have never hated and loved a character the way I did with him. The first half of the show I would’ve happily shot him myself but by the end ? No one has since done a redemption the way Dan Scott did. I loved him at the end and 9 year old me would’ve been appalled at how much I cried at his ending.
Nathan’s kidnapping - this storyline. Omg this storyline, I went through every emotion going, the Naley feels, the genuine fear I had over my TV husband being in danger, the way it set up the Dan Scott Redemption, that scene where Haley has to go identify a body and then the scene where they reunite in the hospital, 🤚I sobbed, I still sob, I can’t listen to the Florence and the machine without getting emotional to this day.
Honestly Anon my sweets I very rarely find other OTH enthusiasts so this was a great moment and I could babble about this show forever, seriously this was like the top of the iceberg, it will always be my favourite, forehead kissing you rn because I just had a lot of fun writing that all out and now I need to go re watch it all !
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Thinking about Her (the Paint It Black sequence in Trust)
#it was so VISCERAL#trust fx#i honestly keep going back to it because i Understand#like we all know that luca marinelli invented acting but michael esper.......#damn that boy can ACT#to really play someone so unsympathetic and fucking awful but still connect damn son
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Mr. Will, I saw that post about the burden of wanting to talk about SW all the time and now I’m curious…please will you tell me your favorite bit of obscure Star Wars lore that someone who hasn’t delved extensively into extra-canonical materials probably doesn’t know?!? 💜
Obscure lore, yes! I would love to talk about that! While reading the Star Wars Archives (1977-1983), I found this page of notes from a story meeting on 11/28/77 in the section 'Bring back Ben' and right before the invention of the role to be filled by Yoda—"Some of the force came from 'Tales of Power', Carlos Castaneda."
And I was like—who the fuck is Carlos Castaneda? Because you hear all the time about all the mythology research Lucas did, all the time with Campbell, etc., but I'd never seen this name anywhere else. So I looked him up. He's a California "anthropologist," a contemporary of Lucas, and oddly fascinating:
Starting with The Teachings of Don Juan in 1968, Castaneda wrote a series of books that purport to describe training in shamanism that he received under the tutelage of a supposed Yaqui "Man of Knowledge" named don Juan Matus. Doubts about the veracity of Castaneda's work existed from their original publication. There is belief among many that Castenda's books are works of fiction, and that it is unlikely that don Juan Matus existed. (Wikipedia)
His first person anthropology about time spent with a Mexican shaman reads like fiction, because it is fiction. An excellent survey of his sources is found here:
Lama Govinda's Fringe Tibetan Buddhism
Brinton's Paper On 'Nagualism'
Frank Waters Book of the Hopi
California Indian Anthropology Texts - especially those known to have been reviewed by CC
Wasson's works on Mushrooms
Eliade's works on Shamanism
Furst's works and lectures on Shamanism
Harner's works and lectures on Shamanism
Myerhoff's works on Shamanism and her contacts with Ramon Medina
UCLA Professor Garfinkel
Wittgenstein
So, we have this very California early-mid 70's New Age philosophy cocktail that was being presented as anthropology (I wish it were still so easy to fraud your way into a degree lmao). George Lucas was on UCLA campus as a graduate student making films at approximately the same time Castaneda was faking his way to this anthropology Ph.D., so when I say they are contemporaries, I mean I'm pretty sure they literally could have been walking around campus at the same time.
ANYWAY, so what if the Force is based on some fringe fake-Mexican-shamanism? So what? Well, first and foremost, Castaneda's books were very popular, and he uses the term "Sorcerer" very frequently, so when Ben Kenobi is called that in a New Hope, hip audiences in the 70's might have been clued in about what to expect. The idea of superhuman abilities rooted in flowing energy, the interplay of teacher and apprentice, and the sorcerer as a warrior (sounds pretty Jedi yeah?) —
A Man of Knowledge Was a Warrior:
“The existence of a man of knowledge was an unceasing struggle, and the idea that he was a warrior, leading a warrior’s life, provided one with the means for achieving emotional stability. The idea of a man at war encompassed four concepts: (1) a man of knowledge had to have respect; (2) he had to have fear; (3) he had to be wide-awake; (4) he had to be self-confident. Hence, to be a warrior was a form of self-discipline which emphasized individual accomplishment; yet it was a stand in which personal interests were reduced to a minimum, as in most instances personal interest was incompatible with the rigor needed to perform any predetermined, obligatory act” (TDJ, 157).
Like................. it's even got the aspect of reducing personal interests and attachment to gain the rigor of discipline necessary to do what must be done as a sorcerer. But beyond the idea of a Jedi as a sorcerer/warrior, it's the metaphysics that kill me. Let's look further at this famous Yoda quote:
"My ally is the Force. And a powerful ally it is." — Listen, "ally" is a term from Castaneda, though he uses it about psychadelic drugs. Audiences in the early 80s would probably know that, too.
“An ally will make you see and understand things about which no human being could possibly enlighten you… It is neither a guardian nor a spirit. It is an aid… a power capable of carrying a man beyond the boundaries of himself. This is how an ally can reveal matters no human being could” (The Teachings of Don Juan 24-25).
“The manipulation of an ally had two aspects: (1) an ally was a vehicle; (2) an ally was a helper. An ally was a vehicle in the sense that it served to transport a sorcerer into the realm of non ordinary reality… To be a helper meant that an ally, after serving a sorcerer as a vehicle, was again usable as an aid or a guide to assist him in achieving whatever goal he had in mind in going to the realm of nonordinary reality” (TDJ 164-65).
"Life creates it and makes it grow. Its energy surrounds us and binds us. Luminous beings are we…not this crude matter." — The division of the Force into flowing animate and inanimate energy is in Castaneda, as is the concept of luminosity.
“Don Juan said that the energetic fact which was the cornerstone of the cognition of the shamans of ancient Mexico was that every nuance of the cosmos is an expression of energy. From their plateau of seeing energy directly, those shamans arrived at the energetic fact that the entire cosmos is composed of twin forces which are opposite and complementary to each other at the same time. They called those two forces animate energy and inanimate energy. They saw that inaninmate energy has no awareness. Awareness, for shamans, is a vibrating condition of animate energy.” (TDJ, xv)
“To perceive energy directly allowed the sorcery of don Juan’s lineage to see human beings as conglomerates of energy fields that have the appearance of luminous balls… the entire cosmos is made of luminous filaments that extend themselves infinitely” (TDJ, xvi-xvii).
I could go on and on and discuss all of Castaneda's writings on detachment and the warrior's life and the awareness of death, but I think that would be a whole other thing. Honestly this subject is too much for a tumblr post. I just thought it was interesting. People always give Lucas both grief and credit for bastardizing philosophical traditions himself, but I would say it's more fair to say that he was more working off of a cheat sheet done by others in California in the 70s. There must have been something in the water lmao
#george lucas#California Groupthink in the 70s#birth of New Age bullshit#and Lucas is right in that group of people#so if you want more context#for where the Force came from#it's not just buddhism#it's also indigenous american beliefs that are put into the blender#not saying this is a good thing let me be clear#but it is a thing#it is lore#i guess#anyway hope that was interesting lmao#sw#long post
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the idea of luca and marwan 'no homo-ing' it when theyve shown themselves to be so fucking committed to joe & nicky is honestly hilarious in its own right. like whoever is thinking that CLEARLY has no idea how much love and dedication luca & marwan put into joe & nicky!!! - 2ta
honestly!! like................................. how dare they disrespect mr marwan like that, the man who invented acting, love, and fashion all in one movie,
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Seeing that post, I am actually curious, how do you go about writing a fight scene? How difficult is it to visualize everything that is necessary to paint the action effectively?
Anon ! Thank you for this great question which will allow me to procrastinate writing said fight scene for at least five minutes instead of setting my computer on fire :
For me, like most of my writing, it starts with the characters + the emotional dynamic of the scene. What is happening between them ? What emotional process do I want to convey ? And so when I imagine/brainstorm the story in my head, I often have ideas for action that are centered around emotion. It’s a lot like a stage choreography - the beats should illustrate the story.
For instance : the fight between Lucas and Thorston, it’s sort of a theatrical performance ; Lucas wants to prove himself to the Vallès people, so it’s a sort of demonstration. So it’s very staged - one opponent makes a move, then another. A lot of the time when writing action scenes the first thing I have in mind is the dialogue and the character interactions - and the setting that will fit - the rest comes later. It starts with this training sequence where I show that Thorston is a bully asking Eliott to hurt himself. The general concept is that Lucas is a knight ‘jousting for the honor of his ‘lady’ (Eliott) who has been slighted, bc the chapter has these allusions to knighthood. But he’s also an underdog so I wanted his final victory to come as a surprise - so at first it starts like an unequal fight and then Eliott realises Lucas has been hitting all these strategic spots and Thorston crumbles - this is an illustration of ‘brain over brawn’ (also very inspired by the ‘five finger death punch’ in Kill Bill) - Lucas is physically smaller/shorter than most of his opponents and he compensates by being extremely smart and quick . The end goal is a feeling of satisfaction due to this reversal + Lucas proving himself + then Eliott makes his speech which shows he has a ‘hold’ over Lucas + there is this whole thing where Vallès has orchestrated this on purpose to get rid of Thorston for being a nuisance.
The catacomb fight sequence, on the other hand, is very chaotic, it’s in the dark, through Eliott POV and he is terrified, and out of his depth, but at the same, he also trusts Lucas so a lot of that sequence is him trying to figure out where Lucas is and following his guidance. It’s a bit of a trust fall - this whole bit is them really being together outside of the prison for the first time, and the overarching emotional aspect is that, right away, they fall into this sort of ‘battle intimacy’ where they have to immediately trust each other and they find that they actually really work well together. It also being mostly in the dark pushes them to rely on touch and hearing, which adds another interesting layer of closeness. Meanwhile, Nikolai Magnusson, is like this terrifying assassin figure that stalks them in the dark, so there is a very ‘primal fear’ aspect, they’re under the ground surrounded by dead people, I wanted it to have a bit of a horror movie vibe, so there is a moment where Eliott shoots him and thinks he’s down but then surprise, he’s not and he goes for them again and it’s this ‘oh my gooooood the serial killer is actually behind me!!!!’ moment and they run away without really knowing if he is dead or not, which adds to the lingering threat and atmosphere of pressure.
So then when I actually sit down to write, I have this general idea about a vibe and some ‘high moments’ I want to put in ; I know the purpose I want the scene to serve, the starting and end points. Now I need to figure out how to get from A to B to C, which is A LOT HARDER. A few things to consider : the characters’ abilities, the weapons they have at their dispositions, the constraints (are they wounded ? in the dark ? restrained ? are there any rules or is it a free for all ?) the environment (anything dangerous ? they can use ? a time constraint ? a bomb ? somebody to protect ? etc) and again, the character’s psychology and emotions (are they angry ? scared ? determined ? too arrogant ? etc). I basically put myself in the mind of the POV character and imagine what I would think and try to do if I was actually living the scene, focusing on the practical details. I honestly don’t write a lot of intricate fight choreography because this is just not my forte and i don’t really have the knowledge. Mostly I think about what would be cool and how to fit it in, and what the character NEEDS to do
For instance, Eliott doesn’t have a lot of fight experience, so when he actually wins a confrontation, it’s often due to the surprise effect - he has a very fierce streak under pressure - but I can’t put him in drawn out fights (yet). He also has a tendency to be overwhelmed and to get into his own head, which is like, very normal for a person without training. Lucas is different - the dude is supposed to be lethal and a bit of a legend so I have a bit more leeway when it comes to him doing crazy shit that shouldn’t be possible (lol) but again, his MO is to be smart about fights so I have to think ok what funky trick is he going to pull this time. What would make him look the most badass. Really, Lucas is all about the power of surprise, because again, his adversaries almost always underestimate him (or they don’t even see him coming). He’s like a stoat, small and uncommonly vicious. (look up ‘stoat dance of death’ if you don’t know what I mean lol) or like a blackfooted wildcat (which is called ‘adorable remorseless killing machine’ and is the smallest and deadliest wild cat) so it’s a theme that you can be very small and also very ferocious, and yes, i have been on a stupid animal documentary binge lately (animal fight club !! so fcking stupid). anyway, there is often a ‘what the fuck’ moment when he fights and also use of distraction. But it depends on context - again in the aforementioned fight with Thorston he is very elegant and precise because he’s showing off - but he started as a street fighter, ; using everything he has at his disposal, being ressourceful/inventive, ruthless, efficient, etc. Like in krav maga ‘use a pen as a weapon’ etc. He’s also very very attentive to his surroundings, alert to see if there is anything he could use, and he tries to analyse the moves of his opponents. (credit to the 2 krav maga lessons i took in my life lol). And then there is Daphné who we haven’t really seen fight yet, but she’s an acrobat, so that would come into account, etc.
I also have to do a lot of back and forth because what often happens is I get an idea for a solution (really a fight scene is a series of problems to set up and solve) so I have to go back in the story and make sure they have their guns/whatever they need for the scene and that there is proper foreshadowing. It’s often the logistics that drive me a little crazy because I get to a point and I’m like...okay and how would they do the thing I need them to do ? And you always have to have this back and forth between the perspective of your POV character and their enemy because you don’t want either of them to be purely reactive or to act stupid just because it’s easier (i mean, if they’re not supposed to be stupid)
I read this good writing advice idk where that said, basically, in action scenes, the more details you have, the more it feels important. So like, when the characters are just trading blows, it’s ok if you’re not super precise. However when things change - like the balance of power shifts, there is an upset, something that carries character significance, etc - it’s good to be more descriptive -it’s like the writerly equivalent of slow mo when everybody is holding their breath. I mean, it’s good to have a general idea in your mind of where everybody is and how they react but it’s not like a movie, it’s ok if you don’t have a super precise beat by beat rendering in your head. At the same time, a fight scene is not the time for super introspective character beats, you have to kind of transcribe the fact that everything happens super fast and there is this sense of complete focus on the action and so you don’t want too many distractions where you pause to describe the scenery, etc etc.
So yeah idk I’m still trying to figure it out I guess ^^ because honestly I still feel like action scenes are some of the most difficult things to write, making everything make sense is hard !!!! hope this made some sense tho and was a bit interesting.
ok now i’m back to the story ^^ have a nice day/night anon ! <3
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👫 ( take ur pick of the muse combos we have honestly, i'm not picky )
Send 👫 for four headcanons on our muses’ relationship - I LOVE THESE SEND EM IN
I’m gonna do a little bit of a mix of all of them because I could talk about how much I love our muse combos for hours-
This is something I remembered we talked about on my old blog - and I’m pretty sure we had a thread for it, too - but I wanna put it here. Once Jeff and Claus are very, very, very close (like, where they’re basically dating but they’re too idiotic to realize that the other one has feelings for them close), Jeff will help Claus with his mechanical parts if Dr. A happens to be busy, and eventually takes over the checkups and maintenance himself. Jeff does this because A) he cares about Claus, obv and B) he doesn’t exactly have high levels of trust in his dad and he wants to make sure that Claus is both safe and as comfortable as he can be while his parts are maintained. Jeff’s very careful and delicate and explains what he’s doing and sometimes gets distracted and calls Claus stunning and he’s very sweet about all of it.
Jeff’s the kind of person that really likes explaining how things work or how things have come to be, but as he’s gotten older he’s better at explaining things so that he tries his best not to appear like he’s trying to go over someone’s head or appear smarter than them. Jeff does this a lot with Claus because he feels comfortable enough around him to infodump about the things he likes/knows a lot about, and I also feel that it’s how Jeff and Lucas would get closer too (that and like, Jeff wanting to help tend to the sheep because he has a major soft spot for animals). I don’t know, I feel like Jeff would lend Lucas a book he thought he’d like so they could be able to discuss a lot of things about it afterwards.
This is something I think has come from the thread between the two of them that we have but I think Lucas and Tony would bond over writing a lot. Tony seems to me like the kind of person that would really like poetry, specifically the romantic period - Victor Hugo seems like the kind of poet he’d like, but maybe it’s Stockholm syndrome bc I read a lot of French literature for my minor lol. I feel like Tony would share that kinda poetry with Lucas thinking that it’s the kind of thing he would enjoy - and maybe something that Lucas might want to write, since, uh, I highly doubt that any of the specific conventions of early post-Enlightenment poetry would have carried over to Nowhere.
Tony would I think initially be wary of Claus, but he knows how happy he makes Jeff, so would make a very clear effort to befriend him. Tony kind of acts like Jeff’s mom in a lot of ways, and one of them is definitely telling Claus embarrassing things about Jeff (but in a way very different than Dr. A, because Tony understands Jeff’s boundaries, ofc). It’s things like about what Jeff was like when they were really little or how Jeff got in trouble a lot when they were younger because he took everything apart and stole lab equipment to invent his own machines or make his own explosives, lol.
#twinsmily#Our Unwound Future [JeffClaus]#[it counts lol]#[GOSH THIS TOOK SO SO LONG I'M SORRY I'VE BEEN REALLY BURNT OUT]#[but i hope the length makes up for it...i'm love them all]#𝔸𝕟 𝕚𝕟𝕢𝕦𝕚𝕣𝕪 𝕗𝕠𝕣 𝕞𝕖? [ ASK ]#𝔸𝕟 𝕖𝕕𝕦𝕔𝕒𝕥𝕖𝕕 𝕘𝕦𝕖𝕤𝕤 [ HEADCANON ]
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NCT reaction to you being small:
Taeil:
Because he isn't so tall himself, he really loves that you're so small (finally he can feel like the hyungnim he is). You being short is just another excuse for him to baby you to be honest. Always tells you how cute you are when you complain about your height. Loves to press his cheek against the top of your head when you're hugging and leave a kiss on your hair.
Johnny:
This giant adores your smallness. You practically reach his knee, but he loves it. Laughs whenever you have to jump to kiss him or when you stand on your tip toes to hug his waist. But still calls you cute all the time, and ruffles your hair gently when you get mad. You're always using him when you need to reach things that are high up. You love cuddling with him because he basically covers you completely and it makes you feel safe UWU.
Taeyong:
He probably doesn't show it very often, but this dude melts into a puddle whenever he sees you swimming in one of his sweaters or standing next to one of the members. Compliments you all the time and talks about how much he loves you and your height, because he knows you get insecure sometimes. Always touching you, it's like an automatic response when he sees you. Loves to backhug you randomly and place his chin on the top of your head as you waddle around like two ducklings uwu.
Yuta:
Teases you nonstop about your height, lol rip. Invents new comments everyday to annoy you and enjoys hiding your things on top shelves just to see you struggle smh. But also, loves your shortness, and protects it shamelessly whenever you complain about it. Smiles uncontrollably when you can't reach something and ask for his help. Loves to hug you and just watch how perfectly your body fits in his.
Kun:
He just loves you, to be honest. Never teases you for your height and always tells you how cute and beautiful you are. Gets really overprotective when anyone teases you, even the members, for being small, because he never wants you to be insecure about your body. Has actual heart eyes whenever you struggle to reach something and always helps you without a word, trying not to smile so you won't think he's laughing at you, but you're just TOO CUTE he can't help it.
Doyoung:
Doyoung doesn't really tease you or act all soft for you because of your height. He's just soft for you in general lol but your shortness isn't something he thinks about alot. Sometimes you'll hug and he just melts a bit when he realizes how small you are and how his arms practically surround you completely. Will die before he admits how cute he finds you though smh. But he's still a bit more overprotective of you, especially with the members, because he knows they love to tease you and/or be affectionate towards you, and none of that is going to happen on his watch excuse you.
Ten:
Another tease lol. Is super flirty and laughs at you constantly but still manages to be extra careful and soft with you. Because he is short himself, you two make the cutest couple. Loves to hug you from the front with his hands around your waist and his head on top of yours. Kisses your forehead all the time and makes a big deal of having to lean down to do it smh.
Jaehyun:
You're the most perfect human being in his eyes, and he loves you and your small body so much, he doesn't know how to express it with words. Always staring at you with shiny eyes full of adoration and a small smile. Teases you in the sweetest way possible, not in words but in actions, like suddenly picking you up and carrying you bridal style, or placing you on a counter or something so you can be eye level. Never lets you say anything bad about yourself or your body, you have to love yourself as much as he loves you missy.
Winwin:
Winwin isn't the best at expressing his emotions, so I don't think he would baby you like some of the other members. But don't let that confuse you, Winwin is a sucker for you and your small proportions, especially because he's a pretty tall dude. He's always smiling slightly when he's next to you, probably thinking about how adorable you are. Might be a little touchy sometimes even, holding your hand and admiring how small it is in his or back hugging you occasionally. He's also so done with the members omg, you're probably the most babied couple in history lol.
Jungwoo:
Get ready to be babied 24/7 lol. Your smallness is literally the death of Jungwoo oml. Finds everything you do adorable and can't help but kiss you all over your face and hug you tightly in his arms because you just fit there so well. Might tease you lightly because he's the main comedian but will never say anything that will make you insecure or embarrassed. Loves to cuddle you, and couldn't care less if he's the small spoon or big spoon. Calls you cute nicknames like shortcake or muffin to make you blush uwu.
Lucas:
Another giant lol. To be honest, I don't think Lucas would tease you at all about your height. He'd definitely be picking you up all the time, or bending down to match your height, but he doesn't do that as a way to make fun of you. Thinks you are the cutest most beautiful person he ever met, so sometimes he just gets really shy around you randomly. Cuddles with you all the time omg. Sometimes he just forgets how huge he is and you have to remind him that he's three times your size and you can't breath when he's on top of you. But then he gets all embarrassed and says sorry a hundred times and kisses you all over to make it better uwu.
Mark:
I don't think he would pay much attention to your height difference. Sure, he thinks you're adorable and he wants to squish you 24/7, but it doesn't really have to do anything with your size. Sometimes he'll call you cute when he sees you taking off your heels or jumping to reach something, but you can't even blame him, it's like an automatic response. Babies you without noticing, like petting your hair absentmindedly or bopping your nose. Heart eyes all the time omg. He's honestly so whipped for you lol.
Xiaojun:
The most gentle baby in the world. Isn't very overprotective or clingy to you in general but shows his love to you in other ways. Doesn't let you say anything bad about yourself, shaking his head firmly when you say you don't look your age, or when you complain about needing to wear heels all the time. Sends you a huge list of reasons why you're perfect the way you are (it may or may not make you cry). Loves cuddling so much, and loves it even more because of your small size, because it makes it so much more comfortable to snuggle his face in your neck and leave small eskimo kisses there uwu.
Hendery:
Your small proportions make him feel all sorts of things, like?? can you get any cuter? Has a huge smile and sparkly eyes when he's next to you. ALWAYS touching you omg. Kissing your cheeks, holding your hand, petting your hair. Carries you everywhere. Like, you're almost never on the ground next to him. Piggybacks, bridal style, picking you up by the waist, you name it. Sometimes he'll joke around with you, teasing you about your height, but he'd much rather laugh with you than at you. Calls you weird af nicknames like munchkin or peanut. Kisses your nose all the time and holds your hand.
Renjun:
In Renjun's case, your height doesn't really help you tbh. If anything, he's always teasing you for it. But if any of the members even say a bad word about you, they dead. Of course if you'd ever get insecure he'd immediately be by your side, comforting you with his touches and sweet gazes. Except for that, he doesn't really baby you or anything. Loves to cuddle and hug with you because of how convenient it is tho. Is a sucker for forehead and head kisses omg.
Jeno:
Might tease you sometimes, but he does it in such a subtle and sweet way, he still manages to look innocent smh. Finds it adorable when you struggle to reach a high place, so he'll hide stuff purposely high just so he can giggle for a few minutes at how adorable you are. Still always helps you in the end though, handing it over to you and sending you that eye smile you can't resist. Loves to pick you up from your waist and leave kisses all over you face uwu. Also has a thing for pulling you into his lap like a baby (he does it a lot with the members... Just to remind them who you belong to lol)
Haechan:
Omg he loves it so much. Annoys the shit out of you 24/7. Anything from jokes about your height, like pretending not to see you, to pulling pranks on you, like hiding your heels two seconds before you go out so you have to wear regular shoes and look like a garden elf next to him smh. Pisses you off until you get mad because you're just the cutest when you're upset, with that pout and your arms crossed over your chest as you try to ignore him, and can you really blame him???? After that he'll be the sweetest tho, trying to make you forgive him by hugging you tightly in his arms while kissing all over you face and whispering apologies and comments about how beautiful you are and how much he loves you. Turns so soft seeing how perfectly you fit in his arms, so you cuddle all the time uwu.
Jaemin:
He just loves you tbh. Wouldn't tease you deliberately, but sometimes his heart just melts and he can't help but pat your head like a baby or smile widely when you stand on your tiptoes to kiss him. Takes care of you so well, so you can never feel insecure around him. Calls you cute names like princess or cupcake, and does it without noticing, so the members always tease you for it. Loves skinship so much, he can never get his hands off of you omg. Always kissing your nose or cheeks, backhugging you with his head on top of yours and his arms around your waist, and cuddling ofc.
Yangyang:
He's such a good boyfriend to be honest. Your size doesn't really matter to him, but he definitely loves hugging you (especially backhugs uwu). Kisses you out of the blue when you act cute, and is immediately shy afterwards. Doesn't really know what to say when you're insecure about your body, he just loves you as you are and he doesn't understand why you don't.
Chenle:
Teases you here and there, but he's so cute and he has the brightest smile when doing it so you cant even get mad. Bends down all the time to your height and squishes your cheeks. Tells you that you're adorable and cute ten thousand times a day. Loves to play with your hair. Sometimes he just freaks out because he just finds you so cute and small, so he just jumps on you out of the blue and hugs you tightly (usually it's followed by unexplainable screams). He doesn't really protect you from the other members teasing/affection (he sometimes even goes along with it smh), but the second you start to get mad or pouty he's immediately by your side, hugging you and acting cute to make you forgive him.
Jisung:
Is continusally surprised by how small you are. Always comparing your height, just to check if you're really as short as you seem lol. Calling you cute accidentally every two minutes and having a mental breakdown afterwards lmao. He probably used to tease you about your height, but he turns to putty everytime you pout or glare at him cutely and his heart can't handle it, so he doesn't bully you anymore lol. Dies a little whenever you lean up to kiss him or when you hug his waist and your head basically reaches his belly button haha. Is always blushing and super shy around you, but occasionally he'll be the one to initiate skinship, petting your hair or pecking you quickly on your lips.
#nct taeyong#nct taeil#nct dream#nct johnny#nct mark#nct haechan#nct 127#neo culture technology#na jaemin#neo culture tech on my mind#wayv xiaojun#wayv imagines#wayv lucas#nct u drabbles#nct u fluff#nct u#nct u jaehyun#nct 2020#nct jisung#nct jeno#nct renjun#nct chenle#nct jungwoo#jungwoo#hendery
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Q&A: Writing Vader
Earlier on, I saw you answered an ask about a Darth Vader type character. You said that they usually don’t make good POV characters or protagonists, with the role they ordinarily are in; I was wondering if you had any thoughts about if you /could/ make them work in a POV/protagonist role, just out of curiosity?
The old advice: Show don’t tell, is appropriate, though this isn’t usually what we mean. Characters don’t really work like this in prose.
The problem is Darth Vader in Star Wars, isn’t a character, he’s an agent of the plot. He acts to further the story, and creating coherent character to back that up is extrapolation by the audience.
The compelling version of Darth Vader as a character? You created that for yourself. Your version of the character may not match what someone else took away.
Now, moving into Empire, and Jedi, Vader does start to have hints of a character, and ultimately a character arc. But, if you ever accidentally think that you know the definitive version of Vader, remember that Hayden Christensen’s Anakin really is Lucas’s intended vision of the character.
Characters like this work best when the audience is creating their own version of them. To do that you need to restrict the amount of information they have on that character’s state of mind, motivation, and other relevant information. This is easy on screen, but it becomes very difficult in prose.
In most forms of media, you’re an external observer viewing the participants. When you watch a movie, you’re seeing the actors playing their characters. When you read a comic, you’re looking at the characters and what they’re doing. Prose is different, you’re usually inside the head of one of the characters, and reading their experiences.
If your PoV character is interacting with something, the author is probably contextualizing that character’s experiences and perspective on the subject.
In contrast, in a film, when the PoV character is interacting with someone, the audience needs to extrapolate the context.
This is where film viewing becomes incredibly subjective, because you’re being asked to evaluate what you’re seeing and square that with the filmmaker’s intended reading of the character. In the end, you’re asking if the character’s behavior remains consistent and coherent throughout.
This can create situations where two people can walk of the theater with vastly different opinions of a film. An example we’ve mentioned before is The Gambler (2014), with Mark Wahlberg. If you come to the film with an understanding of compulsive gamblers, the film actually makes a lot of sense. I’ve said before, it’s a good film, with some very good performances. However, it doesn’t do much to cue the viewer into the specific psychology of the main character, and many of the reviews I’ve read basically come to back to the point of, “the character’s behavior makes no sense.” It’s pathological, consistent, but not normal, and if you don’t have that frame of reference you can’t get into the character’s head.
Star Wars is content to let you invent your own version of Darth Vader. Chances are, that’s a very scary dude. The film then never, really, tests your knowledge. You don’t need to understand who he is to follow his role in the story. Even when the film hints at structures that make no sense, it’s okay, because you’re prone to just ignore them.
For example: How, exactly, is Tarkin? An officer in the Imperial Navy, holding Darth Vader’s “leash?” A Dark Lord of the Sith, who could literally kill him with a thought? I mean Peter Cushing was awesome, and my biggest regret of the prequels is that Wayne Pygram’s version of Tarkin was, basically, a cameo. But, how is this guy holding Darth Vader in check?
The films don’t care, and honestly, neither should you. It doesn’t impact the film. Being privy to Vader’s inner thoughts on Tarkin wouldn’t enhance those scenes. If anything, it would make it worse, because then the mystery would be lost. We’d know why Vader relented. We’d know exactly what power Tarkin had over him.
This is horror writing. Horror works off of restricting the information the audience has access to. The more you know, the less scary it is. If you’re reading a horror story, you’re probably not privy to the monster’s point of view. I won’t say, “never,” but, it’s not the norm. However, if you’re watching a horror movie, first person PoV shots from the monster aren’t out of the question. These do completely different things. In prose, it would start to inform you about the monster, and start giving you the tools to understand what it can, and cannot, do. In film, it can tell you how much peril the characters are in without their knowledge.
So, what I’m sort of saying is that, Darth Vader has more in common with antagonists like the Terminator or Predator, even though he exists in a much more politically complicated environment. You can’t really tell stories from their perspectives without destroying the horror, either, if you’re wondering.
The once place where you can, absolutely, tell stories about characters like this as the protagonist is video games. You want to see what Darth Vader looks like as a protagonist? You can look to the 2016 remake of Doom. All you know is that the denizens of hell are extremely terrified of the player character, to the point that they gave up on the idea of even killing him, chained him to a slab, and locked him away. In the context of a game, the idea that your foes are terrified of you just feeds into the power trip, and you don’t need a full explanation for why.
So, yeah, you can create a character like Darth Vader as the protagonist, but, prose is not the best form of media to present that kind of a story.
-Starke
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Q&A: Writing Vader was originally published on How to Fight Write.
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Pay no attention to the sneak-peek behind the read-more line...
-_-_-_-
Dustin’s duffel bag thwumps onto the mattress, bouncing slightly.
Home sweet home.
He punches a button on his radio and flops down onto the edge of his bed, rubbing at his eyes as the local radio personality announces Small Town Boy by Age of Consent. He takes a big breath - in and out. It is eight hundred and nineteen miles from Camp Know Where to Hawkins, Indiana, and Dustin just spent the last two days travelling them in a small car with his mother. Which was fun at first. Impromptu sing-alongs with his mom have been a staple of driving to and from summer camp for years. They got Frosties in the drive through, they talked about camp, they played the alphabet game while they made their way across three states... Good times. He didn’t even mind being stuck in a confined space with a parent for their mini-road-trip - much. That part wasn’t so bad. It’s just the last leg of the drive that got a little bit less than awesome. Mainly because it would seem that his friends have forgotten about him.
Eight hundred and nineteen miles, and the Party should have been in range of his supercomm for at least two or three of them.
You know, he always kind of forgets what his home town smells like until he’s been gone for a while. It’s like the way you don’t realize what your own house smells like until you get back after vacation. Granted, it’s no bed of roses. Hawkins tends to have a sort of... aroma. Like the farms on the outer edge, and like the forest that grows thick and green during the summer, and dusty, cracked asphalt in need of repairs, and humidity, and hay, and old brick buildings. It’s not exactly a scent you’d find in a candle. But it’s not bad, per se, and moreover: it’s home.
“This is Gold...” he starts to say, but halfway through the hail, his voice stalls.
This new hat isn’t quite molded to the shape of his head yet, like his old one is, and he keeps reaching up to adjust it. Tugging it down over his forehead, then pushing it back. This time, when he reaches up, he snags his headset and tosses it onto the bed. What’s the point?
He drove his mom up the wall during the last fifteen minutes of their journey, trying to get in contact with the Party.
“This is Gold Leader returning to base, do you copy? Over.”
He must have said that at least two dozen times. He could feel his mom glancing at him as she drove, but he just ran his tongue over the rough string of braces on his lower teeth and leaned forward anxiously, as if tilting forward in his seat would help him see around the curve. The bobblehead cat on the dashboard headbanged along to the oldie on the radio as he tried again.
“I repeat. This is Gold Leader returning to base. Do you copy? Over.”
Silence. Silence, and static, and the car radio bopping along to the beat. Come on. Come on. He jammed the talk button hard enough that the plastic edge dug into his thumb.
“This is goddamn Gold Leader -”
“Dusty!” his mom chided, and he slapped the supercomm into his lap.
“What?”
“Relax. For goodness sake.”
“I’m in range, they should be answering.”
“You’ve been away a whole month, honeybun, maybe they just...” She wiggled her shoulders with a tilt of her head. “Forgot.”
She didn’t mean him. Of course she didn’t mean that they forgot him. She meant the radios; she meant they forgot what channel they’re supposed to be on. Or that they forgot what day he was coming home. She didn’t mean that they forgot about Dustin himself.
It’s just, it’s not exactly reassuring, you know? It’s the middle of summer already. All the roads are lined with tall, dark weeds. In a few days, everything will smell like sparkler smoke and kettle corn from the annual 4th of July fair. When he left it was barely June, and the weeds along the roadside were barely sprouts. What else has happened since he left? What else has changed?
A muffled little tink draws his attention to the vivarium on his left, where Yurtle is bumping against the side, stumpy little legs flailing as he fails to comprehend glass. Dustin grins at him.
“At least someone’s happy to see me.”
Yurtle continues his mission to pass through the solid glass wall, unperturbed by his complete lack of success. Determined little guy. Never gets very far, but he tries.
Dustin isn’t worried about it - the Party, that is. Honestly, he’s not. It’s not like they’ve all been acting weird for the past few months anyway. It’s not like ever since El reappeared Mike has been MIA more often than not, visiting her at the cabin for as long as Hopper would allow. It’s not like Max and Lucas have developed their own little language and routine together - not just boyfriend and girlfriend, but best friends. It’s not like Will has been a slightly different person since... well, since everything. It’s not like he misses how the Party used to be.
But Dustin doesn’t like to mope. He slaps his thighs and stands up, reaching into the vivarium to turn Yurtle around. Yurtle lumbers off towards his pool, apparently assured that his ability to move is due to his own success, and Dustin hums along with the radio as he unzips his duffel bag with a flourish. Who is he to complain? He just got back from possibly the most amazing summer camp ever. He’s got the whole rest of the summer ahead of him. He’s got things to do. Places to go. Popsicles to eat. (You know what they don’t have at Camp Know Where? Otter pops. Unbelievable, right? Three hundred acres, over five hundred campers and dozens of counselors, and not a single person could produce even one pack of sugary, brightly colored frozen goodness.)
He’s got plans. Specifically, an invention to get up and running - and he has the perfect place in mind. He bets he can get the gang to help him set it up - if they’d just answer.
Okay, maybe he’s a little unsettled. The Party doesn’t just go radio silent on each other, okay? Because when a Party member goes radio-silent, it usually means that something is wrong. Really wrong.
His eyes slide over the stain in his carpet. It’s a barely-perceptible rusty brown, now, blending in with the striped carpet unless you know just where to look. He had to tell his mom it was spaghetti sauce.
His toy robot starts marching out of the corner just as Dustin turns away, chattering unintelligibly in its perpetual-low-battery fizzle, red eyes glowing.
Wait.
What.
Dustin turns back, slowly, and this time the robot is joined by a toy tank and R2D2.
Now, he’s no expert, but in Dustin’s fourteen years of experience on earth, toys don’t come alive. So he’s understandably befuddled when he closes his eyes, counts to five, opens them again, and is met with a small crowd of miniature robots, vehicles, and one small mechanical dinosaur all moving with apparent purpose towards his bedroom door.
Okay. Cool. So either he’s dreaming, or he has to burn the house down and salt the earth. He’s seen Poltergeist. He knows how this ends.
Hopping carefully over a hotwheels car, Dustin grabs the first weapon he lays eyes on: a heavy, solid can of Farrah Fawcett hair spray from his dresser. R2D2 whistles cheerfully, as if beckoning - and, like the idiot that dies first in a horror movie, Dustin follows.
His hat slips down a little too far over his forehead, and he shoves it back as he creeps along in his socks. He has got to adjust the band on this thing.
“It’s just a dream,” he mutters to himself. The shiny plastic robot at the head of the small army bumps into a wall, adjusts its trajectory with an affronted little grumble, and leads its followers across the hallway. Through the house. Into the living room. “You’re dreaming.”
The feeling of being watched makes his skin crawl. He swears, in about five seconds he’s gonna punt one of the little -
They stopped.
Dustin freezes, eyes flicking over the now-inert toys. Then he darts forward to scoop up their leader, turning the robot over in his hands, inspecting it. An electrical disturbance, maybe...? He picks at the battery panel. That still wouldn’t explain the -
Fweep!
The shrill blast pierces the air directly behind him and he screams, spins, and deploys his weapon - directly into the eyes of his best friend.
Lucas screams. Dustin screams. Lucas screams louder. Dustin realizes he’s still spraying the hairspray and abruptly lets go, dropping the heavy can on Lucas’s toe. Lucas screams again, hopping sideways, one hand over his eyes and one still clutching the Welcome home Dustin! sign that Dustin has just taken note of. Lucas then trips and hits the floor with a thump. The rest of the Party, who Dustin now sees behind him, gawks - and then explodes into guffaws.
Mike and El are holding hands, El hiding behind Mike’s shoulder from the spray of Farrah Fawcett, laughing around the noisemaker in her mouth. Max’s hair blazes down around her shoulders, the burnished-copper-red slightly frizzy with the humidity, her face screwed up in helpless bouts of belly laughter as she holds her stomach and watches her boyfriend roll around on the floor. Will’s hair has grown out maybe half an inch since Dustin last saw him, the straight line of his bangs creeping towards his eyebrows and the fringe of his hair warped slightly where it gets caught on his ears. For a split second it gives Dustin a sinking feeling - like that’s just one more thing that’s changed since he left. But then Will laughs, that exact same chortling laugh he’s had since they met in the fourth grade, and Dustin’s face splits into a grin.
“Guys!” he yells, throwing out his arms, and they dogpile him.
From the floor, Lucas groans, “Welcome home, asshole.”
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Haven DVD Commentaries: 4.08 - Crush
Commentary with Speed Weed (yes, that is actually his name), writer for the episode and Shernold Edwards, writer for the next episode
[As we see Duke burying Wade] SW: “This was the very first day of filming for this episode and I thought Eric just knocked this out of the park.”
They really dug a hole in the ground for Eric to roll a dummy into. The location is near their production office in Chester.
Both commentators agree on the cuteness/adorableness of Emma Lahana as Jennifer.
SW talks about the deleted scene of Nathan and Audrey waking up together; it’s on the DVD, it’s also online. “Since 4.07 ended with them jumping into each other’s arms we wanted to open with that, but it got cut basically for length. Because of the big emotional scene at the end of the episode (which also takes places in Audrey’s apartment), we wanted to have space for that to breathe.”
SE: “Don’t be upset about that though fans, because I try to throw in them making out wherever I possibly can.”
[As Duke is telling Jennifer in the Herald that he’s leaving town] SW: “I just love what Eric did here. He’s an actor who when you push his character to the edge he really performs well. We get him to this place where because he’s killed his brother he decides he should leave town, and I just love this moment of performance. And actors tell me that when you’re acting against someone who’s really solid it makes it all the more special, and to have Emma on the other side of it was great.”
[As Duke first sees the effects of the pressure Trouble in the road] SW: “We had originally scripted that the effects of this pressure Trouble were to be seen as an advancing sea-green wave. For a variety of reasons we decided not to do it that was but that mean production had to make all of these things implode because of the growing pressure .. and just hats off to the production team who created all these things with a pressure differential and got them to crush like that.”
SE: “In case you haven’t figured it out already, Speed’s the science guy.”
SE: “It’s true. I spend about 10 years writing science magazine articles for Discover Magazine, National Geographic, popular science.” And as this is the first commentary he’s ever done he just wants to take the opportunity to say “Speed Weed is my name; Weed is my family last name, and Speed is not my legal name but is a nickname my parents gave me the day I was born. I’ve had it my entire life and I’ve never used any other name.”
[As we see the decompression chamber that Duke and Jack put Vince and Dave into] SW: “So they built that. [*surprise from Shernold*] Our fantastic art department headed by Jennifer Stewart built that out of metal and wood and cardboard and it looks so good and so real. And they did it in a way that you can shoot the inside and the outside.”
SE: “It looks really good! They even dirtied up the windows.”
It was set up at a location called North West Cove, and is about 300 yards from the Grey Gull [the location in reality that is, not in the story].
[As we see Duke argue with Audrey and Nathan on their way to speak to Vince and Dave outside the compression chamber] SW: “This is one of my favourite scenes in this episode because I love it when you get your main characters hot at each other. And they are really hot here and they have reason to be. The challenge as we designed these epsiodes is to make sure that things are grounded and real and people have real emotional core as to why they feel the way they feel and argue the way they argue. By the way the light up there is phemnomenal. This scene was at sun set and the light was gorgeous.
They have a selection of questions soliticted via Twitter and pick one out of a hat; “I’d love to know the reactions of some of the actors when they learned what their characters were doing next.”
SW: “This is a really good question, but the truth is the actors read the scripts when they get them; alone at their houses or in their trailers. And I would love to be a fly on the brain, if you will, to know what their first thoughts are. Because they are the people who inhabit these characters and it’s our job to make sure that we take them in interesting and suprising directions and yet ones that are also emotionally grounded. And we have actors that care about their characters and they push back on us if they don’t feel that what they’re doing is justified…. And they’re fiercely protective of their characters in a really great way. So I wish I could answer that first moment of what they feel like when they react.” And he talks about the process of shooting, about how for the 7 days they’re shooting one episode they will also be prepping the next one - and so that’s the point where actors get to talk to the writers and make any comments. “And more often than not it’s just a case of having a conversation and coming to an understanding. On this particular episode I don’t remember any reactions other than, ‘That’s great!’”
Another question from Twitter; “How long had William’s existence been plotted?”
SW: “So, we had never imagined that whoever created the Troubles acted alone. So in a sense, William has been around for a very long time. I will say that the specificity of William came about in the very early stages of our designing season 4 (which would have been January 2013 when I first joined the show).
They both talk about the actor playing Aiden (lead on a Canadian show called The Listener that Shernold worked on) and what a good job he did and how he had no prep; they only got to talk to him once he was on set in costume already. And about what a great job the director for the episode did, how he is great at bringing out performances from the actors.
The horseshoe crabs with human eyes that Jennifer sees where built by the production team using a real horseshoe crab carapace (which curiously enough are all over the place in Maine but don’t exist in Nova Scotia, so they had to buy one from afar). And they painted human eyes on it and mounted it on a little remote control car.
Another Twitter question; “Since you were new to writing for Haven last season, what did it take to up to speed with the series?”
SW: “This is my first genre show. Prior to writing for this, I wrote for police procedurals and political shows largely, and this is my first sci-fi/fantasy show and I have to say I’m so excited that this is the show I landed in on because if I’d landed on a zombie show or a vampire show or something like that, you have maybe five rules that you have to follow. This show tests you so hard as an intelligent human being because every week we reinvent the wheel. We invent the rules of the day. And so to answer the question, it took me a long time. And the writing staff here was incredibly welcoming to a guy who didn’t have a lot of genre experience. Honestly, in this room a lot of pitches start something like this; ‘Do you remember in the third reel of the second resident evil movie….?’ and I’m totally lost with that kind of thing. I look around the table and everyone else is nodding like they know exactly what’s going on and I have no clue whatsoever. But it’s such a warm and familial room… and I guess the nice thing is that you can make up your rules with every episode. So we were very specific with the pressure rules of this and we spent a long time on the paranoia rules of episode 4.09.”
SE: “What is Duke doing with that flip phone? You know he wants to press some buttons.”
SW: “Duke only has like, steampunk phones.”
[As Duke and Nathan argue after talking with Jack] SW: “Oh here comes the punch, I’m so excited for this punch.”
SE: “He is so good looking.”
SW: “We have actors who largely do their own stunts. There!”
SE: “Oooh that was good!”
SW: “Yep. And so the way they do that is, they will shoot two versions of that. They will go full speed to the moment where the fist hits the face, and they freeze. And as they freeze, the AD calls make up and make up runs in and puts the blood on Duke’s fist and Nathan’s chin and they continue through the action. And then in post you marry it together so you have a full sweep of the fist going through.”
SE: “How often do they forget to pull the punch though? Do they smack him for real?”
SW: “Well, on that they were perfect. He moved his fist really fast, and stopped it immediately as he touched Lucas Bryant’s chin. They’re good at that..”
[As Duke pulls up in the van with the deep sea diving equipment inside] SW: “There’s a moment here I wanted to shout out to about Eric Balfour’s physicality … Oh here it is, so I hope this ends up on the blooper reel; in one take, as Duke got out of this Dominion Diving van - we’re at the top of a giant hill in Lunenberg here - he forgot to put the parking brake on and the van started rolling downhill and honestly all of us thought that this van was going to go 200 feet vertically downhill and kill someone. And Eric Balfour god bless him, got in that van and stopped it in a way I don’t think any other actor could have.”
SW: “OK so the suits; these are real, deep sea, pressure diving suits. They were provided to us by a deep sea salvage company near Halifax called Dominion Diving. It was part of our agreement that we got to use their van and show their name in the take. So for most of this, unless you can see the actor’s face, these are actually the Dominion Diving guys walking in their own suits. And they are really heavy suits because they’re meant to be used under water where they’re neutrally boyant, but on land … All I can tell you is Eric and Lucas spent the better part of a day in those suits and if they put them on for 10 minutes they were sweating like hell. And the same is true of Emily and god bless her because she did a great job and she had a baby just a few months before and she was totally game getting in these suits and doing all this stuff and it was very physically challenging.”
Another Twitter question; “Since it was the same day from one episode to the next (8 and 9) how much time is spent discussing the transition?”
SE: “We have to plan that, we have to make it realistic. And I thought it was particularly clever with these two episodes because there’s the drama of the shot going off in 8 and then rolled it back in 9 to see what actually happened… So yes, to answer the question we do plan - hopefully effectively - between transitions like this.”
SW: “It is very tempting in these shows to not have a nighttime and a session of sleep pass. And there are differing opinions (both in this writers’ room and writers’ rooms in general) to not slow down the drama by having a day pass. One feeling is that you have to be true to reality; you can’t have a 26 hour daylight day. The other feeling is; most people don’t notice. And in the tension between those two; you get what you get. It’s a great question because it means that people are really paying attention.”
[As Duke and Nathan get their helmets off] SW: “You can see here how sweaty these guys are and in this take they haven’t had the suits on for very long; they’re just super heavy. And those guys loved that. They had so much fun in those suits; it was such a departure for them.”
SE [About Duke]: He is /so/ good looking. I guess we know which team I’m on. Actually, I am neither waffle nor pancake, I am team Shuke because if Duke was real character there would be no competition. He would be like ‘Shernold, where’ve you been all my life?’ And I would be like, ‘I’m right here, what took you so long?’”
SW: “Have you told Eric that?”
SE: “It’s Duke. Not Eric. Eric and I have a friendship that’s based on professionalism and respect and fun. But if there was a Duke-Duke, like a /real/ Duke...”
[As we see Jennifer inside the Rouge] SW: “Oh here it comes … this scene. Duke’s changed his mind. So as this is being shot [Duke kissing Jennifer] I’m sitting about where the kitchen is and this was really hot. I’ll just say it; it was hot. These two had a chemistry for sure.”
SE: “And she is adorable.”
[As we see Audrey and Nathan in her apartment] SE: “I can’t say enough about how great these two are in this scene.The truth is our actors love - they’ve have fun with the suits and all that, but when they get to do what we call a two-hander and just play the emotion (especially something that’s built up over three seasons) and dig deep into how their characters feel about each other, I do think I’m not speaking out of turn when I say that this is one of their favourite things to do. And it seemed like this, they treated it like a short play, and they get to run it through without stopping. And I think that’s when we see them at their best.”
SW: “There were lot of questions about this scene from the Twitterverse and someone asked a very smart question about how the actors prepped for that scene.” So this conversation where they are coming to the decision that maybe Audrey should shoot Nathan, is cut into three or four scenes in the edit, but on the day they shot it through all in one go. “And I really want to take my hat off to the director and to Emily and Lucas, because, we live in a world where supernatural things don’t happen …”
SE: “That we know of.”
SW: “... people don’t have to shoot their one true love in order to end supernatural Troubles. And yet for this scene to work, it has to be real and grounded, and you have to decide that the greater good and the best thing is that you have to kill your one true love. And they (the actors) knew that’s a tall order; it’s not easy. And they took this so seriously. And I was so affected watching this. And we didn’t do a huge amount of sizes because we knew we wanted to be close in this - by that I mean how close is the camera on the actors. If I remember correctly the director was thinking that they might want to break them up and shoot them bit by bit,” so that Emily could do multiple takes at the emotional level 1, then move to the next level for multiple takes, then stay at the final level for multiple takes, “but god bless her Emily decided to do the whole rise and the whole arc of it time after time, take after take. And I can’t really answer the question because when they were at home two days before this I don’t know how they prepared for it. But I do know that when they showed up on set that day they were ready. Both for the lovey-dovey scene at the beginning of the episode [which was shot directly before this] and for the awfulness of this scene at the end of the episode. The emotional difficulty of it.”
SE: “And I would gues that these two - they’re such terrific friends too and their families are close everything - would pick up the phone and talk to each other about it, or that they would get on set and just be in the moment.”
[As Duke, Jennifer, Vince and Dave are talking at the bottom of the steps outside the Gull] SE: “Quick point of local interest; John Dunsworth who plays Dave, you can almost see it in that shot of Duke, his family owns like a hundred acres of coastal land right next to the Grey Gull. And at lunch on this day, he took me to his private dock and out on a boat ride around the cove and it was one of my most memorable experiences from my time up there I really enjoyed it.”
SE: “He’s so much fun.”
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Part I
Back with Samantha and Lucas, we’re getting right into the unofficial PTSD diagnosis with all of Samantha’s usual tact and subtlety (“You have PTSD, don’t you?”). Lucas denies it, claiming that he went to an MD while he was on tour and begged him not to put the diagnosis in his file, resulting in his being diagnosed with and medicated for anxiety and sent on his merry way with the hope and expectation (Lucas’s, not the doctor’s) that it would clear up all on its own once he got out of the military. Of course, it did not, and Samantha’s solution is to get someone other than his (now former) employer to “pay.” I assume for treatment.
I have a few problems with this whole scenario.
For one thing, it doesn’t make any logistical sense; it sounds like Lucas is well aware that he has PTSD, but is desperate to avoid that specific diagnosis for some reason. He has no problem going to a doctor for psychoactive medication, but dammit, he does not have PTSD. The thing is that while a diagnosis of PTSD, or anxiety, for that matter, would have prevented him from enlisting in the military, and should have prohibited him from continuing to serve, research data suggests that many are skirting the rules; if PTSD could have gotten him kicked out, anxiety should have carried the same risks, and either way, a diagnosis was unlikely to do him any actual harm. Or much good.
For another thing, from a narrative perspective, this probably sounds terrible of me but I genuinely do not care about Lucas, or his problems. I’ve never heard of him before and I just met him like twenty minutes ago, and all I’ve picked up in that time is that he not only didn’t seek treatment for his illness but actively avoided it, despite seemingly knowing and acknowledging, at least privately, the reality of it; it sounds like his employer did his best to accommodate him (e.g., rearranging the furniture in his office so that his back wouldn’t face the door) but was completely justified in letting him go. The script ticks off the usual PTSD symptoms—flashbacks, nightmares, aggression, trouble sleeping, trouble getting out of bed—but this is all the usual Suits MO of telling without showing. (No seriously, it literally ticks them off in a list: “Of course I saw a doctor.” “And why was that?” “Because I had trouble sleeping.” “Because of nightmares, flashbacks?” “I don’t wanna talk about this.” “Well, we’re gonna talk about it because I can’t defend you if you’re not being honest with me.” “Honest about what? About how there are nights I’m afraid to close my eyes and days I never get out of bed?”)
The problem is that the show puts much more focus on Samantha trying to win Lucas’s case than it does on demonstrating the difficult position Lucas is in, or the allegedly close relationship the two of them have (or had); she keeps insisting that he’s suffering, that she feels bad for getting out of the service while he stayed for two more tours, but we don’t spend enough time with him for me to see it, and they don’t seem to have much more camaraderie than, say, Harvey and Teddy Doyle, his old client who shows up in “Inevitable” (s07e13) to ask for his help. I keep being told to empathize with Lucas, or maybe feel anger at what he’s suffering through, but I just…don’t. It feels more like the show is capitalizing on an increasing public awareness of PTSD as a legitimate disorder and is banking on viewers having some reflexive response to the words being thrown around; “anxiety,” check, “nightmares,” check, “flashbacks,” check. But in reality it’s so much more complicated than that, and the symptoms can be so varied beyond what people have been taught to expect. And this may all boil down to my hypersensitivity to PTSD stories being told right, but this one is done so, so poorly that I’m really annoyed by it more than anything.
On a lighter note, Harvey approaches Thomas to take the firm back as his representation, thereby avoiding the need for Faye to meet with him about his departure. Harvey lays out his “Yes we asked you to perjure yourself but technically if I’d followed the law you would’ve lost out on your expansion” argument (well done, sir), and Thomas…brings it all back around to Donna. Who is she to Harvey? Why, she’s the most important person in his life, he claims monotonously with deadness in his eyes, and furthermore, she knows it. Thomas agrees to hire them back on the condition that Harvey represents him instead of Alex, on the grounds that Harvey just honestly answered “the most difficult question [Thomas will] ever ask,” and all is forgiven. Well, that was easy.
Faye sees through Samantha’s bullshit story about taking Lucas’s case before Faye showed up and forbids her (I’m just going with it now) from using firm resources to work on it, so naturally Samantha asks Katrina if she can use her expense account. Katrina, being of sound mind, refuses; Samantha bemoans the fact that Lucas has PTSD while she wears expensive dresses and has a good job, and Katrina, having apparently lost her marbles all of a sudden, agrees to help on the condition that they do it “on the up-and-up, and pick a fight [they] can win.” Not at all sketchy.
Harvey drops the bomb on Alex about Thomas, Faye has what I’m going to call a bonding moment with Katrina, and we’re back to Camp Darvey for a late-night chat.
So in the last episode, I was none too pleased about the writers taking Rick Sorkin and trying to make it into a Darvey thing, but they’re really dead set on going for the jugular here as Harvey boasts that he always makes it feel like everything’s gonna be okay because…he’s Superman. Recall, if you will, this lovely observation of Louis’s from “The Arrangement” (s03e01): “[Harvey] always was [alone]. Harvey’s not Superman anymore. He’s Batman. And Batman needs Robin.” Now tell me with a straight face that they’re not Darvey-fying everything Marvey.
Next up, Faye derails Louis’s attempt to tell the associates that her presence is a non-issue and Alex interrupts him yelling at Benjamin for not hacking the Bar’s password-protected digital bylaws (again, freely available), and Alex and Louis decide to relieve some stress by going bowling, because why not. Louis hasn’t tried it since he was a kid and his fingers were too fat to fit in the holes, but once he starts imagining Faye’s face on the pins (top-notch CGI here, truly), it turns out he’s a natural, and the guys have some cute bonding time as the writers finally manage to fit Dulé Hill’s tap dancing ability into the script.
Meanwhile, Samantha’s case hits a bit of a snag as she tries to bully the CEO, whose name is apparently Tom, into admitting that he knew Lucas had PTSD and didn’t get him treatment (conveniently forgetting the part where Lucas specifically avoided a PTSD diagnosis because he didn’t want treatment) and Tom points out that doing so would require an official diagnosis, which Lucas doesn’t want (there it is). Samantha bitches to Katrina that the company’s $25,000 offer is too low and she wants to exhort a higher settlement, and Katrina seems to regain her lost marbles enough to point out that Samantha’s emotional involvement is blinding her to the fact that what Lucas really needs is treatment, and this isn’t the way to get it.
We’re back to Louis being awkward as he tries to tell Donna how happy he is for her and Harvey— Well, he’s thrilled for her but even happier for Harvey, because she’s “the best thing that’s ever happened to him.” I’m officially convinced that a threesome with Harvey and Donna is somewhere near the top of Louis’s bucket list. Also that Louis and Donna would be a way better couple than Harvey and Donna.
But I digress! Turns out Thomas hiring them back wasn’t so easy, because he can’t actually handle being Harvey’s client when he’s apparently not quite so much over Donna, so Donna takes it upon herself to fess up to Faye about why he really left.
Almost.
She does sort of gloss over the part where he left because Harvey made him lie at the deposition, implying instead that he left the first time around for the same reason he left the second, i.e., they were a couple and now they’re not. Faye buys it, and I’m a little disappointed in her, but I doubt Samantha is over Robert’s name being taken down, so maybe there’s hope it’ll come up again later.
Samantha informs Lucas of the result of the not-a-lawsuit, namely that he’s being awarded $25,000 and also that she invented a company to contract to SW Industries for $100,000 for a year’s worth of treatment for him, which he’s suddenly tearfully willing to admit that he needs, and this is such a hollow storyline that now I’m just offended.
A small saving grace comes in the form of Faye grilling Louis for getting Benjamin to hack the Bar’s (freely available) bylaws and delivering the truly inspired accusation that the firm is populated by “a bunch of wild dogs running around, defecating all over the legal standards [they] swore to uphold,” which I would dearly love to see become this season’s tagline.
Donna and Harvey put a damper on things by contemplating celebrating having successfully lied to Faye by breaking out the can opener, but thank god they’re interrupted by Louis loudly trying to fire Benjamin for getting caught doing the exact thing Louis directed him to do. Donna and Harvey storm the…IT department, I guess, to stop Louis from acting crazy, and let me tell you, the Darvey red flag that’s raised here is big and it is bright.
I’ve been worried for awhile about Harvey losing his agency and sense of self once he enters into a relationship with Donna, and this is a great example of why. Donna tries to stop Benjamin’s termination by putting it to a vote, Louis says that the hiring and firing of support staff isn’t subject to a vote (I’m inclined to agree), and Donna furiously retorts: “The hell it isn’t! Right, Harvey?”
Right here is a perfect encapsulation of Donna’s habit of using Harvey’s affection for her against him (see again the COO example [s07e02]). They’re in the middle of an argument where she has no standing, and rather than try a different tactic, or try to convince Louis to come around to her side, she turns to Harvey to back up her original point. And he does it, promptly replying “Right” (despite the fact that she is probably not in fact right). Louis, thankfully, accuses Harvey of siding with Donna because he doesn’t want her to be mad at him now that they’re together, Donna claims that that’s ridiculous, and Harvey’s anguished expression and refusal to answer immediately validate all of my concerns. And I hope they follow this up in the coming episodes, I truly do, because this is a very real issue that’s been oncoming for a very long time.
Then Faye corners Louis in his car and stops him firing Benjamin and strips him of his status as managing partner, but like…whatever. The promo indicates that he tries to resign, but he’s done that before and we’ve only just started the season, so I don’t know that it’s going to stick.
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farkle/lucas for the kid meme! :)
@florelunae said: if they had a kid ask game: larkleanonymous said: Larkle for the kid meme!!!anonymous said: larkle + if they had a kid!
y’all REALLY know my brand, huh??? anyway, they have three kids, so im just gonna go through their youngest bc i never talk about him!!!! (they’re all listed a little here if you ever wanna talk about all three of the boys)
Name: victor aquinas minkus
Gender: cis male
General Appearance: Lanky Boi TM, blue eyes, got that farkle minkus hair, usually in a nasa sweatshirt and ripped jeans (bc he thinks he’s cool), probably can be found in the men’s section of forever 21, definitely has an undercut at some point.
Personality: baby of the family and thus can lowkey be a brat (but in a loveable way, we still stan), embraces the minkus nerd within him in a way his brothers NEVER will, sets up d&d games with his cousins, is lowkey really smart but acts like an IDIOT, born a stoner without ever having touched weed, enjoys being doted on by his fathers, a lover not a fighter, really likes math and could probably be on the mathletes, is funny but only accidentally, constantly trying to use puppy dog eyes on his brothers (liam: I INVENTED THAT LOOK / lucas: im sorry Whom invented that look?), usually gets his way.
Special Talents: skateboarding, playing d&d, baking with his brothers, math, fashion
Who they like better: honestly i think he likes both equally because they both dote on him/baby him, but he’s probably a little closer to farkle only because he was the stay-at-home dad (well, he’s an author, so he was usually in his office, but he still took care of the kids while lucas was training to be a veterinarian) and therefore spent more time with him.
Who they take after more: most people would say farkle, because he’s kinda unlike his brothers and is kind of a dweeb/stoner combo, but he’s still like lucas in some ways (i.e. his determination, his fake idiot status, his smarts/humor, etc) it just takes longer to see it.
Personal Head canon: i said this before but he definitely has a ratty ass nasa hoodie he wears everywhere, his favorite food is seafood pizza (which everyone else thinks is disgusting), he really likes anime and watches it with farkle (their favorite so far is one piece but they’re currently trying to get through naruto), when lucas takes his brothers out to Sport he comes with and makes fun of the trajectory of their pitches, he has a shitty memory and so leaves himself little post-it notes everywhere, he definitely gets an undercut at one point and dyes it (and then his whole head) a crazy color. i could keep going but i won’t.
Face Claim: william franklyn miller!
send me a pairing for their kids
#larkle#otp: i never want him to go away#gmw#idk i feel like whenever i talk about kids for them i talk about liam (their oldest) and then michael#i never talk about victor#who is literally an angel#victor minkus#valoisqueens#what kind of woman doesnt have an ask
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WH Characters at the zoo.
A/N: I was watching NCT life in Chiang Mai then this popped into my head so..┐(ﾟ～ﾟ)┌
Elias:
Holds the map and keeps giving directions, even though nobody is actually listening to him. Gives random information about the animals. Reads all the information written about the animals. "LuCa!!1!1 iT sAyS rIgHt HeRe NoT tO tOuCh Or FeEd ThE aNiMaLs!!1!1"
Luca:
Sneaks food to the animals and pets them when no one is looking. Animals love him for some reason?? Which pisses off Elias a lot more than he's willing to admit. "Chill, Prince Elias; it's fine. I know what I'm doing." Still has to be stalked by Elias cuz Luca's not trustworthy, according to him (and everyone else for that matter). Don't even be surprised if he tries to pick up an animal or something.
Yukiya:
Just enjoying himself tbh. Feels kinda indignant towards the fact that these animals are locked up and such but can tell they're treated fairly well, so he ends up feeling slightly better about it. Particularly drawn towards the smaller animals like bunnies and birds.
Klaus:
Trying to make sure he doesn't lose any of them and that everyone stays together. "Serge, goddammit, stop running around; just walk at a normal speed, for god's sake! Luca, fucking put the duck down!!! And, no, Elias, I didn't know that the Caracal is the 10th biggest cat. Zeus, I'll feed you to the lions if you don't shut the fuck up. SIGURD, I SAID I'M CALM, OKAY?!" Just a v v stressed mum basically.
Azusa:
Acts like it's such a burden to have to come along but is actually enjoying himself. Particularly drawn to the animals most people aren't drawn to- like reptiles. Only listens to Elias when it's an animal he's interested in, still doesn't show he's listening though.
Serge:
"KLAUS, LOOK AT ITS COLOURS!" "AZUSA, ISN'T IT SO PRETTY?" An excited child. Loves Every. Single. Animal. No exceptions. Probably comes home with an inspiration for a new invention. Secretly wants to pet some animals too, but doesn't want to disturb them, so he backs off for most of the tour. Except for a few animals he couldn't help but pet. "It was asking me to pet it, okay??"
Joel:
"*sigh* No, Liz, you can't adopt this. Nope, not this one either." "Leon, um, you watch from outside; stop trying to climb past the barriers." Basically a personal babysitter for Liz and Leon. Klaus is pretty thankful for his presence. Also very drawn to birds. And most animals really. Adds some information to what Elias is saying when he decides to listen from time to time.
Leon:
Very!! Impressed!! By!! Everything!! High key wants to free all animals though. That's why Joel needs to watch over him closely. Very friendly with the horses. Completely ignores the do not touch the animals warnings when it comes to horses specifically. Literally jumps everytime he hears a roar. Then clings to a 100% done Joel. Not paying attention during like most of the pictures they took.
Vincent:
"I brought snacks!" Honestly just here for the food. "Can we, please, take a break? I'm tired." Knows some false facts that he keeps adding, just to have like half the group correct him.
Cerim:
Kinda enjoying watching everyone more than he's enjoying watching the animals tbh. Gets dragged around by Guy but is okay with it. Looks at each animal with a different perspective and ends up overthinking how difficult each animal's life must be, and now he's kinda panicked and upset??
Guy:
"I brought snacks!" #2. Another excited child. But somehow more tamed than Serge. Makes friends with random people and guards, which sort of gets them exclusive closer looks at the animals. Absolutely flattered by animals giving attention to him.
Glenn:
Pities Klaus. Kinda helps but doesn't really wanna get himself into any responsibilities cuz, hey, he deserves a day free of responsibilities, too, right? Enjoys the snacks more than the animals.
Leslie:
Ready to actually feed Zeus to the lions. Lowkey watching over the group too. Admires most of the animals. When he's interested, he reads some of the info written, along with Elias. I imagine him to be particularly interested in predators idk why 🤷♀️
Mel:
Already resting on the bench before people agree to Vincent's request for taking a break. Quiet for most of the tour. Unless plants were mentioned somehow, of course. Pays close attention to the animals and is the first one to notice if an animal seems injured or such. High key wants to free all animals #2.
Sigurd:
"Klaus, calm down; it's a day off." "How about after we're done here, we go to this specific restaurant and then after it we can..*2 hour long plan*" Also making lots of friends easily. Knows that group of girls is staring at him and will talk to them. (Will keep it friendly though) Finds it amusing to watch Klaus, but that's not new, is it?
Zeus:
"Hey, Caesar, look at that! *points at a group of pigs* do you know them? You might be related." "*points at any animal he finds ugly* Hiro, that's you." A child but not as pure and innocent as Guy and Serge; instead, he's more of an annoying type of child. Almost challenges a Siberian tiger to a duel and at this point, nobody cares if he does tbh.
Hiro:
"Ha ha very funny, Zeus." Ready to actually feed Zeus to the lions #2. Secretly considering throwing Amelia's phone into the pond halfway through the tour. Is very soft when it comes to small, fluffy animals.
Alfonse:
Trying to stop Caesar and Zeus from biting each other's heads off. Also watching over everyone but doesn't make it obvious because he knows Klaus would say he doesn't need help. Is fairly calm. Tries to pay attention to Elias but Caesar and Zeus just would not calm tf down for a sec.
Caesar:
"HeY, zEuS, lOoK aT tHaT!!1!1 *points to a group of rats* dO yOu KnOw ThEm?!?!1?1?! YoU mIgHt Be ReLaTeD!!1!1!1" Just wants to enjoy himself but Zeus exists. Only person enthusiastic about Amelia's repeated need to take pictures.
Amelia:
"Selfie time!!" "Let's take a picture!!" Drags everyone into the picture, which might explain their expressions. (Klaus and Azusa's murderous glares. Hiro and Mel's bored/irritated expressions. Alfonse and Liz's polite but awkward smiles.) Baffled by how graceful some of the animals are. Literally in love with Peacocks and flamingos.
Liz:
"Amelia, it's the 20th picture in this exact spot..isn't that a little bit..um..enough?" Excitedly pulling Joel around and babbling on and on about the animals (Which he obviously finds very adorable). Has a conversation with as much animals as she can. Is deeply offended when an animal ignores her. "I brought snacks!" #3.
#shall we date#wizardess heart#shall we date wizardess heart#elias goldstein#klaus goldstein#liz hart#luca orlem#azusa kuze#serge durandal#joel crawford#vincent knight#yukiya reizen#randy march#sigurd curtis#glenn qing#wizardess heart leon#cerim leiado#guy brighton#amelia nile#mel glover#leslie roseblade#shall we date scenario#zeus brundle#hiro tachibana#alfonse goldstein#caesar raphael#wizardess heart yukiya#wizardess heart luca#wizardess heart elias#wizardess heart joel
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