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even-disco-baby · 2 years ago

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SMOKER ON THE BALCONY — “Hello again, gendarme.” He smiles at you— not from his usual post, but from one of the cafeteria tables. A small sketchbook is laid out in front of him, along with some odd gray sticks.

ENCYCLOPEDIA — Compressed graphite. Not quite as bold or blendable as charcoal, but certainly less messy.

EMPATHY — Garte will appreciate it.

“I’d like to talk about the case again.”

“You moved! I didn’t know you could do that.”

“What are you drawing?”

SMOKER ON THE BALCONY — “That’s the question, isn’t it?” His smile turns a little rueful. “I found one of my old sketchbooks and thought I’d like to fill the last few empty pages, but I’m finding myself a little… uninspired.”

CONCEPTUALIZATION — The accursed artist’s block. Staring down an empty page only for it to stare back, mocking you.

EMPATHY — He is unsure of himself. He said this was an old sketchbook. Maybe he’s afraid of drawing something new beside his old work and seeing that nothing has changed.

“Ah, yes. Artist’s block. I know it well. In fact, I don’t know when the last time that I actually *made* any art was.”

“You could draw the cafeteria.”

“You could draw one of the other diners.”

SMOKER ON THE BALCONY — “A life drawing exercise, huh? And who would you pick as a subject, gendarme?”

“I don’t know. You’re the artist.”

“Maybe Garte? The skua could be a fun challenge.”

“You should draw the guy with the wig and sunglasses over there. He looks pretty funny.”

“Lena! She’d probably love to model for you. It would take her mind off things.”

“Kim, how about you pose for him?”

[Suggestion - Medium 10] “Why not me?”

KIM KITSURAGI — “No.”

He has nothing more to say on the matter.

“Aw, why not? You’d make a great model!”

Let it go.

KIM KITSURAGI — “I do not get paid to model for portraits. I get paid to solve murders. Such as the one we came here to investigate. Several days ago. Which has not been solved yet, for some mysterious reason.”

ESPIRIT DE CORPS — In case you couldn’t tell, that was sarcasm.

“Come on, Kim. You’re the perfect subject! A true man of the people. And there’s this sort of radiance about you… I can see the portrait already, just looking at you. Really clearly, actually.”

Maybe don’t say that. He’s just not gonna get it.

SMOKER ON THE BALCONY — He shrugs. “Sorry, gendarme. It’s not right to use someone’s image without permission, you know? Maybe some other time.”

KIM KITSURAGI — “No.” And then, a little awkwardly, “But thank you.”

“I don’t know. You’re the artist.”

“How about Garte? Though, you’d have to draw the skua, too…”

“You should draw the guy with the wig and sunglasses over there. He looks pretty funny.”

“Lena! She’d probably love to model for you. It would take her mind off things.”

“Kim, how about you pose for him?”

[Suggestion - Medium 10] “Why not me?”

CHECK SUCCESS

YOU — “Why not me?”

SMOKER ON THE BALCONY — He considers you with some amusement, but still, he does consider. “You’re not too busy?”

“On second thought, you’re right, I have some work to do right now. Another time, maybe?”

“Nope. Not at all.”

KIM KITSURAGI — The lieutenant sighs audibly.

ESPIRIT DE CORPS — What did I *just* say?

SMOKER ON THE BALCONY — He chuckles to himself, apparently quite tickled by the little comedy act you two are making of yourselves. “Beautiful. Why not? Have a seat. I’ll try not to keep you too long.”

KIM KITSURAGI — “Much appreciated,” he says drily.

YOU — [Take a seat.]

SAVOIR FAIRE — Time to strike a pose. Let’s go with something cool. Something that really captures what you’re all about.

ENDURANCE — But make sure it’s something that you’ll be able to hold comfortably.

Wink and shoot him your signature finger guns.

Look at him with big sad eyes like a shamed puppy.

Look thoughtfully into the middle distance, as if contemplating your own future masterpiece.

Stare straight at him with eyes that have seen how this world will end.

Hold your head up high. With *honor.*

Just sit and act natural. No need to put on airs.

SMOKER ON THE BALCONY — He looks you up and down, thumbing his bottom lip. His eyes look brighter and more alert than you have ever seen them. And then, he picks up his graphite and begins to work.

His eyes dart between you and the page, his hand sweeping across the page in bold, practiced strokes. All traces of his earlier hesitation have vanished.

VOLITION — Sometimes, a little push is all we need.

SMOKER ON THE BALCONY — Every now and then, he pauses to look up at you, and it’s almost unnerving to be the subject of whatever calculations are going on behind his eyes. He holds out his graphite, squinting just slightly.

VISUAL CALCULUS — This is called sighting. He’s roughly measuring the relative proportions of your figure and checking them against his sketch.

KIM KITSURAGI — Even the lieutenant is watching now, interested in spite of himself.

“Are portraits your specialty?”

“Have you been drawing anything for school lately?”

Better not distract him.

SMOKER ON THE BALCONY — “Hmm…” He ponders this for a moment, not looking up from his work. “Not exactly. I’m more interested in the graphic arts than this sort of thing. But it’s best to build a strong foundation before branching out, you know?”

YOU — “Graphic arts? Like what?”

SMOKER ON THE BALCONY — “Printmaking.” A small smile tugs at the corner of his mouth as he speaks, seemingly without him even noticing. “Monotype, especially.”

ENCYCLOPEDIA — Monotype is a printmaking technique that is singular from other techniques, in that it produces only *one* unique print, rather than an edition of multiple prints.

YOU — What, really? What’s the point of printing it, then?

ENCYCLOPEDIA — I don’t know. I didn’t invent it.

“Why monotype? Wouldn’t a different technique be more… practical?”

“I see.” [Drop the subject.]

SMOKER ON THE BALCONY — He shrugs slightly, smudging a bit of graphite with a bare finger. “Depends on how you define practical, I suppose. If I had my own studio, and I was selling my prints, then maybe. But we make do with what we have, gendarme.”

EMPATHY — And what he has is very little.

SMOKER ON THE BALCONY — “Besides, I think monotype has its charms.”

The young man does not elaborate, instead focusing on the work at hand. He picks up an eraser that has been shaved down to a point for fine detail work, and begins on what are likely the finishing touches.

EMPATHY — He has already talked at uncharacteristic length about this. It’s making him a little uncomfortable.

SAVOIR FAIRE — He doesn’t like to share too much about himself because it makes him feel *uncool.* He prefers to maintain an air of mystery.

RHETORIC — It’s safer, too, that way. He’s learned that passion exists to be exploited. False promises and admiration are the offerings of Sunday friends.

“If you say so.” [Back off.]

“What kind of charms?” [Press on.]

SMOKER ON THE BALCONY — His eyes flit back to you, sizing you up now in a different way. And then he looks back down at the page with a quiet bre ath.

“Well, it doesn’t take as much time or labor as other methods. Or expensive tools, or dangerous chemicals. Just paper, a plate, ink, and something to apply it with. And I can use the same plate over and over again, even use it to create different layers for the same print.”

RHETORIC — In other words, it’s cheap and can be done from home. An attractive option.

SMOKER ON THE BALCONY — “And with monotype, it’s not so hard to go back and change your mind. You can start over as many times as you’d like, right up until the moment you lay the page on the plate.”

INLAND EMPIRE — That really does sound attractive. To be able to wipe the slate clean, over and over again…

SMOKER ON THE BALCONY — “There aren’t as many limits on what kind of textures you can create, too. Brushstrokes and fingerprints… They can really come out beautiful.”

His brow creases a little, and he picks his graphite back up to rework a particular area.

DRAMA — He’s still holding out on you, sire. Too self-conscious to admit what he really likes about the medium.

YOU — Which is what?

EMPATHY — Fragility.

CONCEPTUALIZATION — An image which is only complete after being mirrored and translated, never to be recreated except as a ghostly afterimage. An exercise in surrendering to chance. What will be, will be. And then the moment will pass, and it will be time to start the next piece.

VOLITION — This man knows disappointment intimately. It is his closest companion. He has learned to make peace with it. He passes the time with his Sunday friends, lays his paper on the plate and hopes, despite himself, for the best.

YOU — Is that… a good thing?

VOLITION — …It’s hard to say. But we make do with what we have.

SMOKER ON THE BALCONY — “There.” The young man sits up straight, and it’s only now that you realize just how close he brought himself to his work.

DRAMA — His face may not betray him, but the body does not lie. He was having *fun,* my liege.

SMOKER ON THE BALCONY — “All done.” He tears the page from his book and holds it out to you with a small smile.

ITEM GAINED: Portrait of a Disco Holdover

SMOKER ON THE BALCONY — “Hope I didn’t keep you too long.”

KIM KITSURAGI — “Don’t worry about it,” Kim says, rather resignedly.

ESPIRIT DE CORPS — If you’d declined, the lieutenant thinks, my partner would have just found some other way to get sidetracked.

KIM KITSURAGI — Still, he cannot stop himself from glancing at the portrait over your shoulder.

PORTRAIT OF A DISCO HOLDOVER — It’s you! Unfortunately. Not even the most masterful hand could make the Expression less unsettling to look at. Your posture is poor, your face is swollen and blotchy, your hair is thinning, your clothes are shabby and out of place… I could go on.

Oh god, you could?

Please don’t.

PORTRAIT OF A DISCO HOLDOVER — But, you know… it’s nice. The smoker’s technique is bold and rather lovely, broad strokes of graphite intersecting in just the right places to create surprising depths. Somehow, even though it’s you… it’s not hideous.

EMPATHY — Because you’re seeing yourself through another person’s eyes.

CONCEPTUALIZATION — There is an odd tenderness to the portrait. Something amusing in your grimace, a touch of sympathy in your hunched shoulders. With the eraser, he has lifted small spots of pigment from your face, as if it were illuminated by flecks of light from the karaoke disco ball.

There are no disco lights tonight, but still, he sees them when he looks at you. Your moment has passed, but it left quite the impression. A ghost print, superimposed over you.

“Not bad, but the bicep girth is off. Right, Kim?”

“Oh god, is that really what I look like?”

“Hmm. It’s okay, but you should consider a backup career plan.”

“Whoa, you’re amazing! Can you draw me again, but this time in the costume from the cover of Man from Hjelmdall and the Devil Woman? And like, with a really cool warhammer? And Queen Lydiaana standing in the background, all like, ‘boohoo, where will I ever find another man like Ha— I mean, the Man from Hjelmdall?’”

“Beautiful.”

SMOKER ON THE BALCONY — His smile climbs up into the corners of his eyes, warming his entire countenance.

CONCEPTUALIZATION — If you were to capture a portrait of him in this moment, it would be beautiful, too.

#disco elysium #harry du bois #the smoker on the balcony #kim kitsuragi #this one is. so self indulgent. i like the smoker i like to think abt him #and assign him my art student interests #anyway. oh the joy of making art and showing ppl what they rlly look like in your eyes #and oh the beauty of monotypes and printmaking and hoping for the best #GODDAMMIT I FUCKED UP THE FORMATTING AGAIN AND DIDNT CATCH IT UNTIL LIKE 12 HOURS LATER.#if you saw that. no you didn’t.

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