#dan going through the most intense character arc in this verse

[pre1ude]

@serpentxprince , sent 👬 for four headcanons about our muses' relationship (<33)

1.

Now, it's a well known fact these two team up for mutual gain, quid pro quo and mostly out of necessity. Forsythe seems an outsider from his own community, smart enough to be terrified of Danny, semi-raliable at worst (by proxy, since he's a Lasombra) and in possession of such an intrinsic link to the great Wyrm that he's essentially a portable scourge compass. Dan meets him and decides to keep him in his pocket like a Boss Map to toggle at his leisure. It doesn't mean he likes the guy, but at the very least he has an appreciation for him. That said, with how Daniel's character in this verse has developed, I think at this point I can comfortably say this: He likely planned to dispose of Forsythe once he'd outlived his usefullness. Sentiments and attachments aside (few as they are at the beginning), he can't ignore what a giant liability their whole involvement with each other is, in light of the penance Danny would receive for it from the Regiment. Until Forsythe saves his life and he finds himself rethinking everything. I'm fairly sure he'd confess at some point, since guilt never sits well with him, and I'm excited about it.

2.

Daniel sends him letters. Once he finds out they have no feasible electronic communication available, he's all too happy to make the switch. It might be a necessity but he still overindulges, for the inherent drama of it alone. He writes in perfect calligraphy and absolutely words it like an english victorian writing to a starcrossed paramour. It's such a nerdy cringefest. Yes, Forsythe's name adds to the fantasy, if you're wondering. Mostly does it when he's sent away somewhere far enough that he can't make the walk to visit within an hour. His letters are blackmail material, he is so very serious about them. Yes, he also sends postcards from the next state over.

3.

After his second time tending to a particular vampire with a 'death wish', Danny starts making sure he's well-prepared. Forsythe's a trouble magnet and whoever finds themself so unlucky to be his designated safehouse has to take their nursing seriously. And Daniel does, he has phenomenal bedside manner for a man who's never needed medical aid past the age of 12. That's not to say he asks what Fodsythe needs; it would be far too embarassing. Rather, like any self-respecting nerd, he studies for it (part of it is his assumption that Forsythe's hostile sire never taught him much about his own bloodline). He does feel a little guilty for consulting the Regiment's vampiric records, no doubt sourced in a horrific manner, but the information on physiology and weaknesses there, used primarily for attack tactics, serves to educate Dan on how to better keep his own personal Lasombra out of death's second door. He strays away from using fire around the vampire, for example.

4.

Juxtaposing headcanon no. 1 (listen, character development): Daniel grows to cherish and treasure Forsythe and worry for him so much that he deigns to bestow upon him the old mark of the Regiment without his mother's knowledge. A crescent with a sword stabbed through it, to signify he is under their jurisdiction and protection, and all who may harm him will answer to the ancient order. A sort of immunity he thinks his vampire friend may benefit from. Paints it on his skin in a hidden place Forsythe can expose in a pinch, if he needs that sort of saving grace last minute. Essentially leaves the choice to him, but urgently implores him to please utilize it as often as he wishes, for his safety. I like to think vampire clans in particular are deathly afraid of it.

+ 1

Safe to say, Forsythe will find himself in trouble with Patricia at some point. I just know it. The way they're being even a little careless in most of our threads, it's inevitable. Danny's lulled himself into a false sense of security with the self-imposed assumption he would be excommunicated at best, and at worst, able to overpower and succeed his mother as Regiment leader if confronted violently (technically, he would). Which he is consciously giving her ample reason to do, with his betrayals and disloyalties and the particularly vile pact/relationship he has with a dark creature. But the mistake he makes is thinking she would not play dirty the moment she has the information necessary. The woman is ten steps ahead at all times, though. I don't know what to tell you. You've got a big storm coming, buddy. 😔

[swinterwriting-blog]

3:10 to Yuma and Django Unchained

3:10 to Yuma and Django Unchained are two Western films that each approach the genre conventions of the Western from different angles, and build these conventions in interesting ways. The films use creative directing, mis-en-scene, cinematography, script, costumes, acting sound, and editing to achieve a distinct style, and the choices made by directors and creatives throughout the films consistently support the narrative. One Western genre convention that appears in both is the male-centric narrative, and setting around the time of the Civil War. Costumes and the outdoor scenes strongly characterize the films’ settings. The films are different in terms of narrative, time and space, and cinematography, directing, and editing.

One of the most distinguishing aspects of each film in comparison with other Westerns is the use of humor through mis-en-scene and dialogue. In 3:10 to Yuma, dialogue between Ben and Dan becomes conversational and humorous at the end of the film, intensifying the emotion for the viewer when Dan dies, and making the point that they have become friends, and each recognized their good and bad. This is especially evident in Dan’s refusal to admit his stubbornness to Ben. In Django Unchained, the scene in which the KKK have done a bad job at making masks before going to kill Django uses humor in an unusual context. One of the KKK’s member’s wife made poor eyeholes in the masks, and this creates physical humor, as the KKK is riding around blindly and foolishly on their horses hunting for the “inferior” (meant sarcastically) man.

Django Unchained is set around the Civil War in the Deep South. One of the explicit messages of the film is the brutality of slavery, and the reversing of that inhumanity onto the perpetrators through Django’s aggression. This is one of the most distinctive aspects of the film’s style. Tarantino used lots of gushing blood, and made the film extremely graphic, almost unrealistically so. Violence on the human body is used as a graphic property that becomes a motif. During action shoot-em-up scenes, slow-motion and closeups are cinematographic techniques used in these scenes, to show dramatic bleeding and injury to human flesh. In the flashback Dr. King Schultz sees of the man being torn apart by the dogs just before he shoots Candie in the chest, the violence creates more violence, as Dr. King Schultz imagines the dogs biting the man, he is driven to put a bullet into Candie’s chest when provoked, which then leads to the bloodiest battle of the film. The scene uses editing and mis-en-scene, as well as sound in the flashbacks, to build the narrative to the climactic battle, while driving home the message with intense violence.

Django Unchained relies heavily on setting and clothing. For example, Candie is colorfully and lavishly dressed. Slaves are costumed in muted, scrappy clothing. When Django is free, the scene in which he chooses his clothes is visually stunning because of the bright blue color of his chosen attire. Visions Django has of Broom Hilda show her in a bright yellow dress, in stark contrast to her clothing as a slave, or even dressed up as a server in the house. Costumes are used to indicate status throughout the film, as Django’s changing wardrobe demonstrates.

Nondiagetic music is used throughout Django Unchained, and is unique and important in the film. The song that opens the credits is typical of an old Western, with a grand classic, sound. But other songs deployed at crucial points in the narrative don’t usually appear in the Western genre. For example “100 Black Coffins” is a popular rap song used during Django’s journey as a Mandingo expert that creates emotions for the viewer by sending a message about violence on black bodies indirectly. The use of a rap song also breaks conventions of the old Western.

Editing in Django Unchained supports the narrative and also gives the viewer a perspective within the action. Closeups are shown of spurting blood, but more extreme graphic violent acts, like Dr. Schultz’s flashbacks of the dogs eating the slave, or the Mandingo fights, are shown in bits and pieces. One way of reducing the exposure is that these violent scenes are cut with reactions of other characters or side conversations, in order to disturb the viewer without crossing the boundary. Salient techniques used in the film are closeups and extreme closeups, crane shots, zoom-ins and zoom-outs, flashbacks/visons, and lots of blood.

A final example of this film’s extraordinary style within the Western genre is in the scene in which Candie is threatening Broom Hilda. Here, Dr. Schultz is actually a dentist, and he knows that Candie’s medical claims about skin color impacting brain functions are ridiculous. Medium shots of Candie and Broom Hilda are cut with long shots of the whole table, showing that Django is the farthest away from his wife. Stephen is always placed right on Candie’s shoulder, a position of power and influence, but also leashed to him. Django and his wife being so close in the same room, but unable to help each other creates a sense of helplessness and anxiety in the scene.

Django Unchained is a unique Western, and is unusual in many aspects, including that the story focuses on a black antagonist killing white men, as white cowboys are typical of the genre. Many elements, including unique use of humor and music, with mis-en-scene, costuming, and editing create a narrative that is not a typical Western.

3:10 to Yuma uses mis-en-scene from the start. Fire is a motif that appears many times, from the first match, to the burning barn and stagecoach, to the fires that light the night scenes. The first scene of 3:10 to Yuma opens on William lighting a match, and hearing his brother wheezing. The limited light of the match sheds light on the cover near his bed, a symbol that reads “The Deadly Outlaw”. This scene begins with the lighting of a match, and has a parallel completion with the burned down barn, making both the match and “The Deadly Outlaw” important props and graphic properties. “The Deadly Outlaw” is a visual hint to the viewer about the antihero of the film, Ben Wade.

One example of the importance of mis-en-scene and dialogue is shown in the final hotel room scene. Ben Wade is shown doodling in a Bible, and it is when William runs in later that this prop left by Ben Wade shows Dan’s picture on the first page, another symbol. This moment of realization and respect is made much stronger by the dialogue employed by all characters in conversations throughout the film, including Ben Wade. Conversations about Bible verse’s and God/hell are has throughout the film. Ben’s portrait of Dan on the front page of the Bible demonstrated Wade and William’s respect for Dan his character arc reached its peak.

Cinematography in 3:10 to Yuma is directed largely by its form as a remake of a 1950s Western, but also by the modern capabilities of creating an action film in the digital age. 3:10 to Yuma, and Django Unchained, frequently capture long shots of uninhabited scenery. Editing is important in the film, and can be seen in the scene in which Dan is knocked out by Ben’s boot. After a quick glimpse of the boot the viewer is also “knocked out” with Dan, before a flash cut, and then a close-up shot of Ben’s face is shown to indicate that he is waking up. In addition, elliptical editing is used throughout the film to make the journey to Yuma much shorter, and highlight the most important points along the way.

Sound is an incredibly important aspect in 3:10 to Yuma. In the moment of Dan’s death, the grand, heroic music is chopped, in order to emphasize the importance of the moment. The only noise is the chugging train, and the halted music parallels the end of Dan’s heroic action. Another important sound is Dan’s son’s cough. This motif is brought up in the opening and the final scene as the reason that Dan was fighting to keep his ranch, for the climate for his son. With this angle in mind, the director began the film with a cough that is key to the narrative.

In 3:10 to Yuma, the viewer is given unrestricted, omniscient knowledge. The narrative structure begins with two distinct storylines of Dan and Ben that become increasingly intertwined. When they combine forces a third storyline is introduced--Charlie and the Ben’s gang, chasing down the group transporting Wade. Expectations the viewer develops from the beginning of the film through dialogue and hints are fulfilled through the granting of information about the characters as the film progresses. For example, Dan’s injured leg is brought up early in the film at dinner, and again in the last scene as an important reason that Wade agrees to help Dan do something heroic. Wade’s expert knowledge of the Bible is explained as an important character trait because of abandonment by his mother as a child. Ben’s leg explains why he refuses to let Wade walk away from justice, and Wade’s Bible represents how he can be heartless and have a conscience at the same time.

The film builds on genre conventions, and fulfills viewer expectations. One example of this is Ben Wade not being entirely good or bad, and the last seconds of the film, in which he gets onto the train to Yuma by choice, but whistles for his horse, indicating to the viewer he will be getting off shortly, is a final testament to his good intentions and self-serving actions shown throughout the film.